Par JORGENSEN AXEL. Axel Jørgensen was the solo viola in The Royal Danish Orchestra, and as a composer he had a large output, especially for brass. His Romance for trombone and orchestra is one of his most performed pieces, and was first performed by Anton Hansen, the famous teacher. In this arrangement for wind band has Eriksen kept the beautiful late romantic colours. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Pour cette ?uvre le compositeur s?est inspiré de grandes ballades orchestrales d?artistes pop comme Marco Borsato Céline Dion ou Laura Fabian et l?a dédiée à une personne spéciale. Grâce à l?instrumentation 'Ballata Per Te' peut ?tre joué par quasi n?importe quel orchestre et s?apparente surtout à des mélodies entraînantes qui se succèdent tantôt en mineur tantôt en majeur.

Based on Dies Irae-Cette ?uvre s?inspire du Dies Irae attribué à 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 ?uvres. Dans sa composition Song of David dont le titre fait référence à la troisième ligne du texte original Jan de Haan présente un thème à l?unisson qui sera repris ensuite dans différentes couleurs orchestrales.

Pour cette uvre le compositeur sest inspiré de grandes ballades orchestrales dartistes pop comme Marco Borsato Céline Dion ou Laura Fabian et la dédiée à une personne spéciale. Grâce à linstrumentation 'Ballata Per Te' peut ?tre joué par quasi nimporte quel orchestre et sapparente surtout à des mélodies entraînantes qui se succèdent tantôt en mineur tantôt en majeur.

Par BULLA STEPHEN. Symphonette possède des contours tonaux modernes et des mélodies originales. La richesse orchestrale des trois mouvements s’inscrit dans la suite de la délicieuse Rhapsody for Brass de Sir Dean Goffi n, à qui cette composition est dédiée. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

Par STRAVINSKY IGOR. C'est une des oeuvres orchestrales plus célèbres et la plus populaires d'Igor Stravinski, la partition originale qui est déjà riche en couleur à l'égard des parties de vent. Il est maintenant disponible dans un arrangement convaincant pour bande de vent. C'est merveilleux, exigeant de musique pour des concerts par bandes au plus haut niveau./ Répertoire / Wind Band

La plupart des pays ayant institué la tradition des musiques militaires ont développé un style de marche caractéristique. Ainsi il est relativement aisé de distinguer une marche américaine d?une marche militaire française ou une marche allemande d?une marche espagnole. À l?intérieur du cadre structurel rigide d?une marche on réussit à percevoir même les plus subtiles différences de rythme d?harmonie et de tempo qui caractérisent les traditions de chaque pays.Il existe un ou plus exactement deux styles de marche typiquement anglais : celui des marches militaires représenté par des compositeurs tels que Kenneth J. Alford et celui des marches cérémonielles ou de concert quiatteindra l?excellence avec les marches orchestrales d?Elgar et Walton entre autres.Royal Salute (?Salut royal?) est une marche de difficulté moyenne qui perpétue cette grande tradition. On y retrouve des éléments typiques : des mélodies et contremélodies amples et un trio nobilmente.

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 à 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 à 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 (?À une rose sauvage?). L?étonnante sincérité de la mélodie fit dire à un grand critique musical que cette mélodie valait toutes les œuvres pour piano réunies de MacDowell.

Minerva by Jan Van der Roost was composed on the commission of the German ?Musikverein Braunshausen? on the occasion of the 75th anniversary of the orchestra. The composition first performed on September 17 1999 is not a street march but a concert march just like Mercury and Arsenal. The use and variation of different rhythmic patterns gives the first part of this march a distinctly dynamic character. Two main themes are presented in several instrumental combinations. The theme from the trio on the other hand is characterized by a broad melodic approach using large intervals. This theme wreathed by high woodwinds is heard one more time after a contrasting newpart but now in a somewhat slower tempo. The counterpoint in this part refers to the first part of the march. The brilliant ending suits a festive anniversary march!

Overture for wind orchestra. Par DE MEIJ JOHAN. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Oxygen (2004) is a short composition for fanfare orchestra constructed with elements from rock and popular music.The composer used funky rhythms jazzy harmonies and pulsating rock to illuminate the fanfare band from a different angle.The music demands a groove from the percussion section and the wind players are asked to use playing techniques from light music. And for this all the performers and audience alike need a good supply of oxygen.

for wind orchestra. Par DVORAK ANTONIN. / Niveau : 4 / Classique / Répertoire / Concert Band ou Harmonie

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

The group Teach-In from the Netherlands won the Eurovision Song Contest in 1975 with the song Ding-a-Dong. It was the fourth time that a Dutch entry had won the prestigious festival but since then no Dutch artist has even come near first place again. The original Ding-a-Dong was performed in keeping with tradition with the accompaniment of a large orchestra. This sparkling arrangement of the catchy song provides a cheerful note in every concert. The melody will certainly stay in the audience’s memory long after the performance.