Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions drawing on a full palette of acoustic echo effects Gregorian melodies and organ based choral themes.The work ?Catedrals? opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme ?Salve Regina? which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms including a fugue. The work then builds towards its first climax from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.

During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation sound and balance.

Tijdens zijn loopbaan als concertorganist speelde Rob Goorhuis talloze malen de Sonata da Chiesa van Hendrik Andriessen een werk dat typisch is voor de stijl en het coloriet van deze Nederlandse organist-componist. De betekenis van Andriessen voor de Nederlandse kerkmuziek is zeer groot geweest. Vele koor- en orgelwerken ontstonden in de bloeitijd van het rijke Roomse leven. Als eerbetoon aan deze kunstenaar die destijds als organist van de kathedraal van Utrecht talrijke luisteraars trok met zijn kleurrijke en vernieuwende orgelbespelingen schreef Rob Goorhuis een fantasie over het thema van diens Sonata da Chiesa. Deze Sonata bestond uit een reeksvariaties op een zelf ontworpen thema. De sfeer van het werk reikt van zeer intiem tot uiterst uitbundig. Deze uitersten heeft Rob Goorhuis in zíjn interpretatie en verwerking van het thematisch materiaal eveneens opgezocht. De vroomheid en luister van het orgel werden echter vervangen door de passie en de virtuositeit van een modern blaasorkest. De band met het originele werk van Andriessen wordt onderstreept door een aantal soms licht verborgen citaten van bijzondere muzikale wendingen. De handtekening van de oude meester blijft zo herkenbaar. Op deze manier toont Rob Goorhuis zijn bewondering voor diens componeertalent. Het werk werd geschreven in opdracht van fanfare Kunst en Vriendschap Partij-Wittem onder leiding van Paul Oligschläger ter gelegenheid van de deelname aan het Wereld Muziek Concours Kerkrade in 2009.

Drei kurzweilige Impressionen-Dans le cadre du projet ?La musique de Kurt Weill? organisé à Leeuwarden (Pays-Bas) en 2006 Peter Kleine Schaars a donné une seconde jeunesse à plusieurs œuvres que le compositeur allemand avait créées pour le Dreigroschen Orchester (L?Orchestre de quat?sous) un ensemble qu?il avait spécialement formé et dont il avait fixé l?instrumentation pour interprété sa Kleine Dreigroschenmusik (Une petite musique de quat?sous).Peter Kleine Schaars s?est inspiré des trois périodes qui ont marqué la vie de Kurt Weill (1900-1950) : ses étapes à Berlin Paris et New York. Three Aspects of Kurt Weill (?Trois impressions divertissantes de Kurt Weill?) développe un thèmerécurrent exposé dans trois climats musicaux différents qui correspondent aux trois étapes de la vie de Weill.Le premier mouvement est une marche protestataire ?aux accents berlinois? qui parodie l?utilisation de la musique sous le fascisme. Les trompettes ont le premier rôle. Le second mouvement chemine sur une valse musette toute parisienne qui fait la part belle au saxophone alto et à l?accordéon. Le troisième et dernier mouvement développe le thème dans une trame swing typique du Big Band. Votre formation se métamorphose en un grand orchestre digne de Broadway !

Drei kurzweilige Impressionen-Dans le cadre du projet ?La musique de Kurt Weill? organisé à Leeuwarden (Pays-Bas) en 2006 Peter Kleine Schaars a donné une seconde jeunesse à plusieurs œuvres que le compositeur allemand avait créées pour le Dreigroschen Orchester (L?Orchestre de quat?sous) un ensemble qu?il avait spécialement formé et dont il avait fixé l?instrumentation pour interprété sa Kleine Dreigroschenmusik (Une petite musique de quat?sous).Peter Kleine Schaars s?est inspiré des trois périodes qui ont marqué la vie de Kurt Weill (1900-1950) : ses étapes à Berlin Paris et New York. Three Aspects of Kurt Weill (?Trois impressions divertissantes de Kurt Weill?) développe un thèmerécurrent exposé dans trois climats musicaux différents qui correspondent aux trois étapes de la vie de Weill.Le premier mouvement est une marche protestataire ?aux accents berlinois? qui parodie l?utilisation de la musique sous le fascisme. Les trompettes ont le premier rôle. Le second mouvement chemine sur une valse musette toute parisienne qui fait la part belle au saxophone alto et à l?accordéon. Le troisième et dernier mouvement développe le thème dans une trame swing typique du Big Band. Votre formation se métamorphose en un grand orchestre digne de Broadway !

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

'Melody is the very essence of music.' -W.A.Mozart (1786)Mozart confirmed this view on melody by writing the Ave Verum Corpus near theend of his short life. Originally written for chorus strings and organ this work standsamong the most beautiful musical expressions of all time. Timothy Johnson has skillfullymade Mozart's wondrous achievement available to concert bands. It's perfect forworship services and the sostenuto style with careful attention to dynamics makesit a great choice for that 'middle' spot at festival or for the more serious moment atany performance. Given the opportunity young bands LOVE to play truly greatmusic and it just doesn't getmuch better than the mastery of Mozart.

The pilgrim's song 'Deilig er Jorden ' can be called an international carol. The Norwegian text was written by Danish poet Inge Bernhardmann on a melody of Polish origin. A majestic carol! Therefore particularly suitable as an opening work for your Christmas concert. Optional with organ.