SKU: PR.312419270
ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: BT.AMP-354-010
9x12 inches. English-German-French-Dutch.
Diamond Concerto was commissioned by Musikverein Mörschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein.The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead’s special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village ofMörschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:1 EARTH STARis rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.2 OCEAN DREAMuses a varied quote from the composer’s Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.3 BLUE HEARTwas written, at Steven Mead’s suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Soloist: Difficulty 6Diamond Concerto is available for euphonium and piano (AMP 374-401) as well as for euphonium and brass band (AMP 354-030). Diamond Concerto is geschreven in opdracht van de Duitse Musikverein Mörschied - met dirigent Eric Grandjean - voor een speciaal concert met Steven Mead als gastsolist. De wereldpremière vond plaats op 28 april 2012 in het Stadttheater van Idar-Oberstein.De opdracht vormt een hoogtepunt in de dertig jaar lange vriendschap van de componist en de solist - waarin ze aan vele gezamenlijke cd-projecten en concerten werkten. En nu is er dan dit concert. Sparke heeft het gecomponeerd met Steven Meads geheel eigen euphoniumklank in het achterhoofd. Hij paste daarbij de diverse stijlen toe die de wereldberoemde virtuoos zich heeft eigen gemaakt tijdens zijn succesvollesolocarrière.Het plaatsje Mörschied ligt ten westen van Frankfurt am Main, in het gebied dat bekendstaat als de Deutsche Edelsteinstrasse. Het is beroemd vanwege zijn bloeiende edelstenenindustrie. Om het werk een lokaal tintje te geven is een toepasselijke titel gekozen: Diamond Concerto. Elk van de drie delen is genoemd naar een beroemde edelsteen:1 EARTH STARDit deel is tamelijk sober van sfeer. Het opent met een vrije fantasie van de solist over een statisch akkoord in het orkest. Dan volgt een allegro moderato in mineur, met kleine motieven die geleidelijk worden herhaald en uitgewerkt door zowel het orkest als de solist.2 OCEAN DREAMHierin wordt een citaat van Sparke’s werk Music for Battle Creek naar voren gebracht, met een vloeiende, langzame melodie die van oorsprong werd geschreven met het spel van Steven Mead in gedachten.3 BLUE HEARTNaar een suggestie van Steven Mead zelf is dit deel geschreven in bebopstijl. Het neemt de vorm aan van een jazzwals. De quasi-improvisatorische centrale passage omvat een vraag-en-antwoordspel voor de solist en het hoge hout.Solo: moeilijkheidsgraad 6Diamond Concertois eveneens verkrijgbaar voor euphonium en piano (AMP 374-401) en voor euphonium en brass band (AMP 354-030). Geschrieben für den Musikverein Mörschied, westlich von Frankfurt am Main an der Deutschen Edelsteinstraße gelegen, wurde jeder der drei Sätze von Diamond Concerto nach einem berühmten Diamanten benannt: 1 EARTH STAR ist eher stimmungstechnisch ein Stern. Der Satz beginnt mit einer freien Fantasie des Solisten über einem statischen Akkord des Orchesters. Dieses führt zu einem Allegro Moderato in Moll, in welchem kurze Motive von sowohl Orchester als auch Solist nach und nach wiederholt und entwickelt werden.2 OCEAN DREAM verwendet ein variiertes Zitat aus Music for Battle Creek von Philip Sparke, das ein schmelzende Melodie enthält, die schon im Gedanken an Stevengeschrieben worden war.3 BLUE HEART wurde auf Steven Meads Anregung hin im Bebop-Stil komponiert und weist die Form eines Jazz Waltz auf. Der quasi-improvisatorische Mittelteil enthält eine Passage im Call-and-Response-Muster, die sich zwischen Solist und den hohen Holzbläsern abspielt.Solist: Schwierigkeitsgrad 6Diamond Concerto ist für Euphonium und Klavier erhältlich (AMP 374-401) sowie für Euphonium und Brass Band (AMP 354-030). Diamond Concerto est une œuvre de commande de la formation allemande Musikverein Mörschied, dirigée par le Dr Eric Grandjean, pour un concert avec un invité spécial, le soliste Steven Mead. Ensemble, ils ont créé cette œuvre le 28 avril 2012 au thé tre de la ville d’Idar-Oberstein.Cette commande représente l’un des points culminants d’une amitié de trente années entre le compositeur et le soliste, leur relation ayant donné naissance de nombreux enregistrements et concerts et, maintenant, un concerto. Pendant la composition de cette œuvre, Sparke avait sans cesse l’esprit le son bien particulier de l’euphonium de Steven Mead, et il a employé librement lavariété de styles que ce virtuose mondialement connu a adoptés au cours de sa brillante carrière de soliste.Le village de Mörschied se trouve l’ouest de Francfort-sur-le-Main, dans la région surnommée Route allemande des pierres précieuses, célèbre pour son industrie de la joaillerie. C’est pourquoi le compositeur a décidé de saluer cette province en intitulant son œuvre Diamond Concerto. Les trois mouvements sont chacun nommés d’après un diamant célèbre :1 EARTH STARDe caractère plutôt sérieux, ce mouvement débute avec une fantaisie libre pour le soliste sur un accord statique de l’orchestre. Vient ensuite un Allegro Moderato en mode mineur où de courts motifs sont progressivement répétés et développés par l’orchestre et le soliste.2 OCEAN DREAML’on pourra entendre ici une variante d’un extrait de Music for Battle Creek, incluant une mélodie lente et émouvante, que le compositeur écrivit alors dans l’optique d’une future interprétation réalisée par Steven Mead.3 BLUE HEARTSuivant l’idée de Steven Mead, ce mouvement est écrit dans un style de be-bop et prend la forme d’une valse jazzy. La partie centrale, quasi-improvisée, comprend un passage d’appel et réponse entre le soliste et les bois.Soliste: Difficulté 6Diamond Concerto est aussi disponible pour euphonium et piano (AMP 374-401) et euphonium et brass.
SKU: BT.DHP-1125256-140
Like the Eagle, We Soar and Rise was commissioned by Yuying Secondary School Concert Band and Yuying Alumni Association for the 2010 centenary of the school’s foundation. The piece was named by a friend of the composer named Steven Phua, who originally suggested commissioning a new piece to Satoshi Yagisawa. The piece furthermore takes its name from the text of the Yuying Secondary School song.This composition is based on three different concepts: the first one demonstrates ‘The founders’ passion for education’; the second concept illustrates ‘Hardship in war time’; the third one ‘To the future’ describes the inner strength people find to overcome struggles. Thispiece concludes with a fanfare, which is the sound of hope that leads to a brighter future in a positive direction.The world premiere of this piece was conducted by Faizal Bin Othman, who is one of the leading educators in Singapore, and was performed by the Yuying Secondary School Concert Band. Like the Eagle, We Soar and Rise is geschreven in opdracht van de Yuying Secondary School Concert Band en de Yuying Alumni Association, ter gelegenheid van het honderdjarig bestaan van de school in 2010. Het werk kreeg zijnnaam van een vriend van de componist, Steven Phua, van wie in eerste instantie het voorstel kwam een nieuw werk bij Satoshi Yagisawa in opdracht te geven. De titel is gebaseerd op de tekst van het schoollied van de Yuying SecondarySchool. De compositie is gestoeld op drie verschillende gegevens: het eerste weerspiegelt de liefde voor onderwijs van de oprichters destijds, het tweede behelst de ontberingen in oorlogstijd, en het derde betreft de kijk op detoekomst -waarbij de innerlijke kracht van mensen helpt moeilijkheden te overwinnen. Het werk eindigt met een fanfare: de klank van hoop die vol optimisme een betere toekomst verkondigt. De wereldpremière werd uitgevoerd door de YuyingSecondary School Concert Band, onder leiding van Faizal Bin Othman, een van de meest gerenommeerde muziekpedagogen in Singapore.Like the Eagle, We Soar and Rise war ein Kompositionsauftrag des Blasorchesters der Yuying Secondary School und des Yuying-Alumni-Verbandes (Singapur). Anlass des Auftrags war das hundertjährige Jubiläum der Schulgründung im Jahr 2010. Der Werktitel stammt von einem Freund des Komponisten namens Steven Phua, der auch die Idee hatte, ein neues Stück von Satoshi Yagiswa schreiben zu lassen. Außerdem bezieht sich der Titel auf den Text des Schulliedes.Dieses Werk basiert auf drei unterschiedlichen Konzepten: Das erste spiegelt die Leidenschaft der Gründer für das Lehren wider; das zweite Konzept beschreibt die Not in Kriegszeiten; das dritte Konzept mit dem TitelTo the Future“ (zur Zukunft hingewandt) handelt von der inneren Stärke, die Menschen entwickeln, um Schwierigkeiten zu überwinden. Das Werk endet mit einer Fanfare, die der Hoffnung auf eine bessere Zukunft Klang verleiht.Die Weltpremiere von Like the Eagle, We Soar and Rise wurde von Faizal Bin Othman, einem der führenden Lehrbeauftragten von Singapur, dirigiert. Es spielte das Blasorchester der Yuying Secondary School. Like the Eagle, We Soar and Rise (Comme l’aigle, nous prenons notre essor) est une commande de l’Orchestre vent du collège de Yuying et de l’Association des anciens élèves de Yuying pour marquer le bicentenaire de la fondation du collège. Son titre lui a été donné par un ami du compositeur, Steven Phua, qui avait suggéré la commande d’une nouvelle composition Satoshi Yagisawa. Le titre lui-même est tiré du texte d’une chanson du collège de Yuying.Cette composition s’articule autour de trois concepts : le premier exprime ‘‘La passion des fondateurs pour l’éducation’’ ; le deuxième illustre ‘‘Les privations en temps de guerre’’ ; le troisième concept, ‘‘Versl’avenir’’, évoque la force intérieure que l’on trouve en soi pour surmonter les obstacles. La pièce s’achève par une fanfare, représentation sonore de l’espoir qui mène vers un avenir prometteur. La création mondiale de l’oeuvre fut donnée par l’Orchestre vent du collège de Yuying sous la direction de Faizal Bin Othman, éminent professeur de musique de Singapour. La movimentata storia di un istituto scolastico in occasione dei festeggiamenti per il suo centenario, ha spinto Satoshi Yagisawa a comporre questo brano basandosi su tre idee ben distinte: la passione per lo studio, la sofferenza durante i periodi di guerra e la speranza in un futuro migliore, simboleggiato dalla fanfara finale.
SKU: BT.DHP-1125256-010
SKU: BT.DHP-1002209-010
Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.The final movement is named after ISTVAN, the King who introduced Christianity into Hungary and who was crowned by Pope Silvestro II on January 1, 1001. A rather solemn start leads to another war-like passage, ending with some loud crashes. This symbolizes the fact that the body of the pagan Koppany was cut into four pieces, and sent to the four castles of the country as an example. After a quiet, almost religiousintermezzo, the National Hymn of Hungary is introduced. This broad “grandioso†ending also has a symbolic meaning: after ten centuries, Hungary has many reasons to look back on the past with pride, and to look forward to the future with optimism and confidence. Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag’.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkendDie Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila, König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnernden Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.Sinfonia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA, roi des Huns, surnommé “le Fléau de Dieuâ€, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggressione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszagâ€.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’inizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.
SKU: GI.G-10580
ISBN 9781622776375.
Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.
SKU: HL.4006471
UPC: 888680992606. 9.0x12.0 inches.
A wonderful new work by Satoshi Yagisawa in which flowers are the focal point. This work honors the official registration of the Dendrobium “Yishun Primary School†in the International Orchid Register. This flower was created by pupils of a Singaporean school. The dramatic mood of the piece is intended to inspire the next generation of students towards a hopeful future after overcoming difficulties and hardships.
SKU: BT.DHP-1124756-140
Towards the Future was commissioned by the Nagoya City Fire Bureau for the 50th anniversary of the Nagoya City Fire Bureau Band (Nagoya, Japan). It was premiered by the band on 7 February 2009, conducted by Masuo Nakamura. This concert march was conceived to lift up the spirits of the firemen who save people’s lives. The solemn and heart-warming melodies express their braveness when faced with danger and the tenderness shown towards the people they protect.It is an ideal march to open a concert and to inspire both performers and audience.Towards the Future is geschreven in opdracht van de Nagoya City Fire Bureau Band (Nagoya, Japan) ter gelegenheid van het vijftigjarig bestaan van het orkest. Het werk is tot stand gekomen met financiële steun van het NagoyaCity Fire Bureau. De première vond op 7 februari 2009 plaats onder leiding van Masuo Nakamura.Deze concertmars is gecomponeerd met de intentie om de brandweerlieden, die telkens weer het leven van burgers redden, een hart onder deriem te steken. De plechtige en hartverwarmende melodieën verklanken moed in gevaarlijke omstandigheden en de toewijding aan de mensen die worden beschermd.De mars is ideaal om een concert mee te openen en zowel muzikanten als publiekin de stemming te brengen.Towards the Futurewurde von der Nagoya City Bureau Band (Blasorchester der Städtischen Feuerwehr Nagoya, Japan) in Auftrag gegeben. Anlass zu diesem von der Städtischen Feuerwehr Nagoya unterstützten Werk war das 150-jährige Jubiläum dieses Orchesters, welches am 7.Februar 2009 unter der Leitung von Masuo Nakamura die Uraufführung spielte.Dieser Konzertmarsch wurde zur Ermutigung der Feuerwehrleute geschrieben, die Menschenleben retten. Die feierlichen, herzergreifenden Melodien beschreiben den Mut der Feuerwehrleute, den sie im Angesicht von Gefahr beweisen, und ihre Fürsorglichkeit gegenüber den Menschen, die sie beschützen.Mit diesem Marsch kann man sehr gutein Konzert eröffnen und die Stimmung von Musikern als auch Zuhörenden heben. Towards the Future (Vers l’avenir) est une commande de l’Orchestre d’Harmonie des Pompiers de la ville de Nagoya, au Japon, l’occasion des festivités marquant le cinquantième anniversaire de la création de la formation. La première mondiale a eu lieu le 7 février 2009. Elle fut assurée par la formation dédicataire, placée sous la direction de Masuo Nakamura.Cette marche de concert a été composée pour stimuler le moral des pompiers, qui consacrent leur existence sauver des vies. Les lignes mélodiques de l’oeuvre, solennelles et apaisantes, reflètent non seulement leur bravoure lorsqu’ils se trouvent confrontés au danger, mais également la bienveillance qu’ils manifestentenvers les personnes qu’ils protègent. Idéale en ouverture de concert, cette marche inspirera entrain et gaieté ses interprètes et leur auditoire. Questa marcia da concerto è stata composta in onore, ma anche per incoraggiare e sostenere i vigili del fuoco che salvano le vite dei cittadini, spesso mettendo a rischio la propria incolumit . Le melodie solenni e commoventi al contempo descrivono il coraggio di questi uomini davanti al pericolo e vogliono sottolineare la tenerezza e la dedizione nei confronti delle persone che sono chiamati a salvare.
SKU: BT.DHP-1124756-010
SKU: BT.GOB-000332-020
The atmosphere of the Wild West is caught in a striking and most imaginative way by young composer Andreas Schulte in this work. A caravan of gold- and fortuneseekers launch themselves into a big adventure and begin their rush westward. The first movement desciribes these first days of buoyancy and optimism in a crisp march. Near the campfire the pioneers rest themselves, and the music expresses feelings of romance, nostalgia for the past and hopes for the future. A wistful melody very characteristically communicates these feelings. Relaxation takes place in the third movement which is a musical characterization of a rodeo and its attendant festivities.It is obvious that sometimes something goes wrong and this aspect can also be heard. Nevertheless, the valiant rider wins in the end. With a flashback to the beginning, the journey is completed musically, thus giving the composition a dignified finale. Let the mystic Wild West entrance you. (Wagons ho ....!!) De sfeer van het Wilde Westen wordt door de jonge componist Andreas Ludwig Schulte op een uiterst treffende en beeldende wijze geschetst. Een karavaan van goud- en gelukzoekers stort zich in het grote avontuur en begint de grote reis naar het westen. Het eerste gedeelte beschrijft de eerste dagen van opgewektheid en optimisme in een vlotte mars. Bij het kampvuur komen de pioniers tot rust en worden gevoelens van romantiek, heimwee (verleden) en hoop (toekomst) muzikaal weergegeven. Een weemoedige melodie verwoordt die gevoelens op een zeer kenmerkende wijze. De ontspanning vindt plaats in het derde deel waarin een rodeofeest muzikaal wordt verklankt. Met een flashback van het begin wordt de tocht voltooid en de compositie waardig afgesloten. Raak in de ban van het wilde westen! Gobelin Music Publications.
SKU: BT.GOB-000332-120
SKU: HL.44012270
UPC: 888680057657. English-German-French-Dutch.
Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011. The timeless message of thismoving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.
Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011.
The timeless message of this moving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.
SKU: HL.44012770
Philip Sparke's The Saga Of Haakon The Good for Brass Band. Score and parts. The Saga of Haakon the Good werd geschreven in opdracht van Frei Hornmusikk uit Noorwegen, ter gelegenheid van het samengaan van de twee Kommuner (gemeenten) Frei en Kristiansund op 1 januari 2008. Deze brassband gebruikte het werk bij het Noorse Nationale Brassbandkampioenschap in februari. De compositie is gebaseerd op belangrijke gebeurtenissen in het leven van Haakon de Goede (ca. 920-961), die koning Haakon 1 van Noorwegen werd - THE FUTURE KING. Hij werd opgevoed door koning Adelstein (Athelstan van Engeland) als onderdeel van een vredesovereenkomst die zijn vader had gesloten. De Engelse koning bracht hem de christelijke godsdienst bij. Toen het nieuws kwam dat zijnvader was overleden, kreeg Haakon een aantal schepen met bemanning mee om ten strijde te trekken tegen zijn halfbroer Erik Bloedbijl, die tot koning was uitgeroepen. In Noorwegen aangekomen trok hij noordwaarts - THE JOURNEY TO TRONDHEIM -, waar hij de steun van landeigenaren wist te verkrijgen door ze te beloven dat hij de belastingen die zijn vader hief, zou afschaffen.De zoons van Erik zochten steun bij de Denen, maar ze werden verslagen door Haakon, die slaagde in alles wat hij deed, behalve in zijn pogingen het christendom in het land te introduceren - THE MISSIONARY KING. Hij voelde zich niet opgewassen tegen het verzet dat hij hierin ondervond. Een van zijn beroemdste overwinningen was de slag bij Rastarkalv (dicht bij Frei) - THE BATTLE OF RASTARKALV - in 955. Door tien vaandels ver van elkaar te plaatsen langs een lage bergkam (om de indruk te wekken dat zijn leger groter was dan in werkelijkheid) lukte het hem om Eriks zoons het idee te geven dat zij in de minderheid waren. De Denen vluchtten en het leger van Haakon zegevierde. De genoemde tien vaandels worden weergegeven door tien luide akkoorden vanaf maat 420. The Saga of Haakon the Good reflektiert das Leben von Konig Haakon I von Norwegen (um 920-961). Jeder der vier Satze dieses Werkes hat etwas Besonderes zu bieten - von ausdrucksvollen Lento-Passagen bis zu dynamischen rhythmischen Abschnitten und vielen spannenden Soli. The Saga of Haakon the Good war bereits Pflichtstück bei den British National Brass Band Championships 2008. Wahrhaft meisterlich! Un superbe morceau impose, par le roi des imposes Philip Sparke. Base sur la legende de Haakon le bon (vers 920-961).
SKU: CF.CM9795
ISBN 9781491164662. UPC: 680160923571. Key: A major. English. Coty Raven Morris. Original.
The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—Coty Occasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up.I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.
SKU: CF.CM9794
ISBN 9781491164655. UPC: 680160923564. Key: A major. English. Coty Raven Morris. Original.
The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—CotyOccasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up. I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.
SKU: PR.114408750
UPC: 680160013289. 8.5 x 11 inches.
This work was commissioned by the Friends of the Phoenix Public Library for the dedication of the new Music Room and made possible in part through the funds from the Arizona Commission on the Arts, and Meet the Composer-Arizona. Diary of a Journey was composed between July and September 1995 for the group Arpeggio. During the early summer of 1995, my wife and I took a vacation to Prague and Budapest. It was the first trip for both of us to these former Iron Curtain capitals. The train ride through the beautiful country-side, the dilapidated small villages and towns, the magnificent architecture and the feeling of grandeur in the two major cities left an indelible impression on me. I longed to write some kind of an essay about it. Diary of a Journey is the result of some of these thoughts, which were sketched (musically) as we visited each place. There are four 'snapshots' or movements which do not portray a specific scene, but rather try to capture the impressions I gathered from the people we observed and met, and the many awe-inspiring experiences we had. Throughout the journey, I felt that people were clinging to a tenacious hope for a better future, no matter how long it will take to realize it. In the first movement each player portrays a struggle against all odds, and with great energy and even wit tries to overcome the obstacles, ending on one serene high note as a resting point after all the conflict. The second 'snapshot' tries to capture the deep faith of a newly regained religiosity. It is chant-like, and uses as its basic melodic material a famous Czech hymn, penned by the great religious reformer John Huss. This movement is played very freely, without bar-lines and with the hymn shining through the fervent chanting. The third movement is a kind of 'demonic' scherzo. Fast and furious, the three instruments vie with one another in a true perpetual motion frenzy, which is at times relieved by short, more pastoral melodic fragments. A rather wild ending should leave everyone breathless. Finally, in the fourth 'snapshot' the instruments play a bit more as a team, meaning that is that there is more melody with accompaniment, and more imitative music giving the impression of a group effort. The energy is still at a high level but long lyrical lines abound, accompanied and interrupted at times by undulating fast notes still depicting the struggle against the blight which any visitor notices all around these countries, yet also showing the determination of the people to conquer adversity. --Samuel Adler.
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