SKU: HL.44010638
UPC: 884088505974. 9x12 inches. English-German-French-Dutch.
Symfonische gedichten zijn gewoonlijk verhalende of beschrijvende werken die zijn gebaseerd op een verhaallijn - of het nu gaat om poezie of proza. Naar het voorbeeld van meestercomponisten als Berlioz, Liszt en Debussy zet MaximeAulio het genre voort met Montsegur, een klankgedicht dat uitgaat van het dramatische verhaal over de burcht van de katharen, het Chateau de Montsegur (Ariege, Frankrijk). Als een impressionistische schilder gebruikt de componistveel nuances en klankkleuren, steeds perfect in harmonie met de betreffende thematiek. Een schilderachtig solowerk voor trombone!In der Tradition von Meisterkomponisten, wie Berlioz, Liszt und Debussy, erweitert Maxime Aulio das Genre des Tongedichts um Montsegur, einem Werk auf der Grundlage der dramatischen Geschichte der gleichnamigen Festung in Sudfrankreich. Wie ein impressionistischer Maler verwendete Maxime Aulio dabei viele Tonnuancen und Klangfarben. Ein malerisch schones Solowerk fur Posaune und Blasorchester! Un poeme symphonique est une composition dont la nature expressive releve d'une intention essentiellement poetique ou descriptive, s'appuyant explicitement sur un theme, un personnage, une legende le plus souvent inspires par un texte litteraire. Suivant l'exemple d'illustres compositeurs tels que Berlioz, Liszt et Debussy, entre autres, Maxime Aulio fait perdurer le genre dans ce poeme de sons qui relate l'histoire tragique du chateau de Montsegur (Ariege, France), bastion de la resistance cathare. Et tel un peintre impressionniste, il choisit, une multitude de timbres et de couleurs tonales toujours en parfaite adequation avec le motif a decrire. Le tableau respire, etl'on percoit dans les premieres mesures, le souffle du vent. La beaute du paysage qui s'enroule autour du gigantesque piton rocheux defile sous nos yeux quand soudain, une volee de carreaux d'arbalete fend l'air en sifflant comme une pluie de fer. On entend les pierres s'ecraser sur les murailles du chateau. La forteresse cathare est assiegee... Dans ce climat musical pesant et poignant, le trombone revet une dimension tragique servie par une symbolique expressive. Il expose des themes cycliques qui reviennent dans l'ensemble de l'œuvre : le theme du chateau, la priere des Parfaits, le theme du bucher. En mars 1244, 207 Parfaits cathares perirent brules vifs. Presque huit siecles plus tard, ces flammes d'un autre age alimentent encore les rumeurs les plus folles.
SKU: HL.44010637
UPC: 884088505967. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.
SKU: BT.DHP-1135481-140
9x12 inches. English-German-French-Dutch.
This work is based on the 13th Century Dies irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises. Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David. Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan Song of David, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.Cette oeuvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version dé_x001C_finitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs oeuvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans diff_x001B_érentes couleurs orchestrales.Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione de_x001E_finitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.
SKU: BT.DHP-1135481-010
This work is based on the 13th Century Dies Irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises. Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David. Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan David’s Song, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.Cette oeuvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version définitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs oeuvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans différentes couleurs orchestrales.Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione definitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.
SKU: BT.DHP-1094442-010
Symfonische gedichten zijn gewoonlijk verhalende of beschrijvende werken die zijn gebaseerd op een verhaallijn - of het nu gaat om poëzie of proza. Naar het voorbeeld van meestercomponisten als Berlioz, Liszt en Debussy zet MaximeAulio het genre voort met Montségur, een klankgedicht dat uitgaat van het dramatische verhaal over de burcht van de katharen, het Ch teau de Montségur (Ariège, Frankrijk). Als een impressionistische schilder gebruikt de componistveel nuances en klankkleuren, steeds perfect in harmonie met de betreffende thematiek. Een schilderachtig solowerk voor trombone!In der Tradition von Meisterkomponisten, wie Berlioz, Liszt und Debussy, erweitert Maxime Aulio das Genre des Tongedichts um Montségur, einem Werk auf der Grundlage der dramatischen Geschichte der gleichnamigen Festung in Südfrankreich. Wie ein impressionistischer Maler verwendete Maxime Aulio dabei viele Tonnuancen und Klangfarben. Ein malerisch schönes Solowerk für Posaune und Blasorchester! Un poème symphonique est une composition dont la nature expressive relève d'une intention essentiellement poétique ou descriptive, s'appuyant explicitement sur un thème, un personnage, une légende le plus souvent inspirés par un texte littéraire. Suivant l’exemple d’illustres compositeurs tels que Berlioz, Liszt et Debussy, entre autres, Maxime Aulio fait perdurer le genre dans ce poème de sons qui relate l’histoire tragique du ch teau de Montségur (Ariège, France), bastion de la résistance cathare. Et tel un peintre impressionniste, il choisit, une multitude de timbres et de couleurs tonales toujours en parfaite adéquation avec le motif décrire. Le tableau respire, etl’on perçoit dans les premières mesures, le souffle du vent. La beauté du paysage qui s’enroule autour du gigantesque piton rocheux défile sous nos yeux quand soudain, une volée de carreaux d’arbalète fend l’air en sifflant comme une pluie de fer. On entend les pierres s’écraser sur les murailles du ch teau. La forteresse cathare est assiégée... Dans ce climat musical pesant et poignant, le trombone revêt une dimension tragique servie par une symbolique expressive. Il expose des thèmes cycliques qui reviennent dans l’ensemble de l’œuvre : le thème du ch teau, la prière des Parfaits, le thème du b cher. En mars 1244, 207 Parfaits cathares périrent br lés vifs. Presque huit siècles plus tard, ces flammes d'un autre ge alimentent encore les rumeurs les plus folles.
SKU: BT.DHP-1094442-140
SKU: AP.36-S014201
ISBN 9781608740055. UPC: 659359973819. English.
Franz Liszt (1811-1886) started work on his Concerto for Piano and Orchestra No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition. Study score.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A164001
ISBN 9798892703208. UPC: 659359825644. English.
Franz Liszt (1811-1886) started work on his CONCERTO FOR PIANO AND ORCHESTRA No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition.
SKU: AP.36-A164002
UPC: 659359515002. English.
SKU: CN.R10230
Music of enormous excitement and expectation - marked very animated - with brass blazing a powerful call against a tingling triplet figure in support. In Wagner's own words - awaken the mute lines of this score to bright surrounding life.In a letter addressed to My dear Liszt, dated May 1852, Richard Wagner writes: It was you who awakened the mute lines of this score to bright surrounding life. He was referring to a performance of his opera Lohengrin which Franz Liszt conducted at the Weirner Court Theatre on August 28, 1850. The letter was sent from Zurich, since Wagner was exiled from Germany at this time. He had completed his romantic opera, Lohengrin, some five years earlier but doubted whether he would ever hear it performed. The action takes place in Antwerp in the first half of the 10th century. Elsa and Lohengrin are to be married and the 3rd Act opens as they proceed in great splendour, accompanied by their respective noblewomen and noblemen, to the cathedral. As a Prelude to the curtain rising Wagner unleashed music of enormous excitement and expectation - marked very animated - with brass blazing a powerful call against a tingling triplet figure in support. In the opera this magnificent Prelude leads directly into the Bridal Scene as Elsa and Lohengrin make their way solemnly to the betrothal ceremony. Wagner achieves this change of mood and atmosphere most skillfully. In arranging the Prelude for concert performance the challenge was to provide an ending which provides a satisfactory climax to Wagner's blaze of instrumental colour, without proceeding to the solemn betrothal music. This was resolved by using the composer's own mighty flourish to end Act I of his opera. Now, the gauntlet is thrown down to all who perform it to - in Wagner's own words - awaken the mute lines of this score to bright surrounding life..
SKU: CN.S11230
SKU: BT.DHP-0880098-140
In composing Puszta, Jan Van der Roost wrote folk dances related to Slavonic folk music. Its character and sounds are comparable to the Hungarian and Slavonic dances by Brahms and Dvorak and to the Hungarian Rhapsodies by Liszt. All the melodies, however, are newly composed, not adapted from existing dances. Câ??est en associant les caractéristiques de la musique traditionnelle slave son talent de compositeur que Jan Van der Roost a créé cette suite de quatre danses originales tziganes. Lâ??orchestration, fine et légère, est dâ??une grande richesse sonore qui permet dâ??exploiter les multiples facettes de lâ??Orchestre dâ??Harmonie. Puszta est une ?uvre dansante et expressive, empreinte dâ??une vivacité de caractère que lâ??on retrouve dans les Danses hongroises de Brahms, les Rhapsodies et Danses slaves de Dvorák ou les Rhapsodies hongroises de Liszt.Associando le caratteristiche della musica tradizionale slava al suo talento di compositore, Jan Van der Roost ha creato questa suite di quattro danze originali gitane. Lâ??orchestrazione, fine e leggera, è di una grande ricchezza sonora che permette di sfruttare al meglio i numerosi aspetti della banda. Puszta è una composizione danzante ed espressiva.
SKU: CL.012-4102-01
Friska is the traditional Hungarian folk dance which is most famous as the fast section from Franz Liszt’s Second Hungarian Rhapsody. One of the most famous themes from the symphonic repertoire, this work is a time-honored classic that will excite performers and audiences alike. This tour-de-force for concert band is a perfect gem for your mature band. Dazzling!
About Gems of the Concert Band
A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith
SKU: AP.36-A816701
ISBN 9798892703253. UPC: 659359825590. English.
As an inexhaustible proponent of Beethoven's life and work, Franz Liszt (1811-1886) produced a number of arrangements and transcriptions in homage to the great composer. His FANTASIE ÜBER MOTIVEN AUS BEETHOVENS RUINEN VON ATHEN, S. 122 (FANTASY ON BEETHOVEN'S RUINS OF ATHENS) for piano and orchestra is one of three existing versions, all of which he dedicated to Nikolay Rubinstein. The work on which the piece is based, incidental music for a play by August von Kotzebue, was written in 1811 in Pest, Hungary for the dedication of a new theater. The first performance of the FANTASY took place, also in Pest, on June 1, 1853. Instrumentation: 2+Picc.2.2.2: 2.2.3.0: Timp.Perc(2-3) Str (9-8-7-6-5 in set): Solo Pno in Score. Reprint edition.
SKU: AP.36-A263301
UPC: 660355020445. English.
The idea for Totentanz, S. 126 (Dance of the Dead) was conceived by Franz Liszt (1811-1886) in 1938. Two versions were to follow, the first completed in 1853, and the second version finished in 1864. The flashy virtuosic piece for the solo piano uses the Gregorian plainchant melody Dies irae (Day of Judgement) in a set of variations. The first version, which is nicknamed De Profundis, is most commonly heard in the 1919 edition by famed Italian composer, pianist, and conductor Ferruccio Busoni (1866-1924). Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(2-3): Str (9-8-7-6-5 in set): Solo Piano in the sc.
SKU: BT.DHP-0880098-010
In composing Puszta, Jan Van der Roost wrote folk dances related to Slavonic folk music. Its character and sounds are comparable to the Hungarian and Slavonic dances by Brahms and Dvorak and to the Hungarian Rhapsodies by Liszt. All the melodies, however, are newly composed, not adapted from existing dances. C’est en associant les caractéristiques de la musique traditionnelle slave son talent de compositeur que Jan Van der Roost a créé cette suite de quatre danses originales tziganes. L’orchestration, fine et légère, est d’une grande richesse sonore qui permet d’exploiter les multiples facettes de l’Orchestre d’Harmonie. Puszta est une œuvre dansante et expressive, empreinte d’une vivacité de caractère que l’on retrouve dans les Danses hongroises de Brahms, les Rhapsodies et Danses slaves de Dvorák ou les Rhapsodies hongroises de Liszt.Associando le caratteristiche della musica tradizionale slava al suo talento di compositore, Jan Van der Roost ha creato questa suite di quattro danze originali gitane. L’orchestrazione, fine e leggera, è di una grande ricchezza sonora che permette di sfruttare al meglio i numerosi aspetti della banda. Puszta è una composizione danzante ed espressiva.
SKU: AP.36-A816702
UPC: 659359502255. English.
SKU: AP.36-A263302
UPC: 746241287199. English.
SKU: HL.50606828
ISBN 9798350114423. UPC: 196288188285.
Ãrpád Balázs (*1937) composed the first version of Rhapsody for Hungarian cimbalom and concert band in 2001; in 2021, on the encouragement by a Japanese marimba player he arranged the solo part for marimba, and therefore the opportunities for the work to beplayed have significantly widened. The Rhapsody follows the one-movement structure created by Franz Liszt. The beginning solo section of the cimbalom (or marimba) returns before the coda as a pillar of the form. The composition, which can be divided into five sections, develops and works with a Lydian tetrachordal motif (G-A-B-C sharp) in different characters, stretching the span of music from a simple, children's song-like appearance to an obstinate ritual dance. In conclusion, the Rhapsody is a passionately emotional lyric orchestral poem rich in colours and characters, which has a place on the repertoire of every concert band playing quality music.
SKU: HL.50606649
ISBN 9781705199817. UPC: 196288153566.
SKU: HL.50606648
ISBN 9781705199800. UPC: 196288153559.
SKU: AP.30779
UPC: 038081351469. English.
The masters go to the circus. In this ingenious Nick Baratta arrangement, you'll hear the elephants and laugh at the clowns but all through the themes provided by Dvorak, Liszt and others. A musical tribute to these classic master-composers and all so very familiar from the rings of the circus. A real barn-burner, this one will have your students on the edge of their seats! This title is available in MakeMusic Cloud.
SKU: CN.R10018
The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band.
SKU: CL.024-4573-01
We all know and love the wonderful characters from the classic cartoon adventures of yesteryear. David Shaffer has crafted this clever reincarnation of music from those classics. Opening with Brahms’ Hungarian Dance #5 we can all imagine our favorite cartoon rabbit in his many adventures and mis-adventures. With Wagner’s Ride of the Valkyries we hear his death defying escapes from his adversaries. Finally, Liszt’s Hungarian Rhapsody #2 gives us the musical tension that brought these cinematic classics to their comic conclusions. Multiple percussion effects and clever instrumental writing will make this a favorite for years to come. Very entertaining!
SKU: CL.024-4573-00
SKU: BT.AMP-026-010
Edward MacDowell can be regarded as the first great American composer, although he disliked the idea of being classified as any sort of musical nationalist. He composed a large number of orchestral works but it is the charming and unpretentious suite of musical miniatures, Woodland Sketches, that has survived as his best-known work, with To a Wild Rose being the most popular. Philip Sparke has expertly arranged this simple work for concert band. Philip Sparke bearbeitete dieses Stück des amerikanischen Komponisten Edward MacDowell, der weit über die Grenzen seines Heimatlandes hinaus berühmt ist. To a Wild Rose wurde seinem bekanntesten Werk, den Woodland Sketches, entnommen, einer Reihe anmutiger, unprätentiöser musikalischer Miniaturen. Hieraus ist To a Wild Rose das wohl populärste Stück, dessen Qualität Kritiker zu dem Urteil bewog, es sei so gut, wie der gesamte Rest von MacDowells Klaviermusik.Edward MacDowell (1860-1908) est considéré comme le premier grand compositeur américain de l’histoire de la musique, bien qu’il refusait avec vigueur d’être associé un quelconque courant musical nationaliste. Edward MacDowell a toujours considéré que la musique était une véritable langue internationale, et ses œuvres sont fortement influencées par le style de composition européen, et plus particulièrement par l’écriture allemande. Compositeur adulé de son vivant dans son pays natal et l’étranger, il était également un pianiste exceptionnel dont la virtuosité a impressionné l’un de ses plus brillants professeurs, Franz Liszt. Edward MacDowell a composé de nombreusesœuvres pour piano, un grand nombre de lieder ainsi que plusieurs œuvres orchestrales. Mais l’œuvre la plus connue de son répertoire est une charmante suite de miniatures musicales pour piano, Woodland Sketches, une composition modeste et stylistiquement simple dont est extraite la plus célèbre de ces miniatures To a Wild Rose (“ une rose sauvageâ€). L’étonnante sincérité de la mélodie fit dire un grand critique musical que cette mélodie valait toutes les œuvres pour piano réunies de MacDowell.
SKU: BT.AMP-026-140
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