I'm Still Standing signifie en d'autres termes 'Je suis toujours là' symbole de pérennité. Cette chanson mondialement connue d'Elton John a été arrangée par un nouveau venu: Sven Van Calster. Le rythme entraînant et la mélodie réputée et dynamique permettent de jouer un tel morceau lors de n'importe quel concert quel que soit le niveau de votre orchestre. Il fait toujours de l'effet !

The sisters Ruth Anita and June Pointer from West Oakland in California learned how to sing in the sixties in church where their father was a minister. At the beginning of the 1970s they entered the music business where they proved to have a mastery of many styles - including rhythm & blues jazz and country. However the Pointer Sisters acquired international fame at the beginning of the eighties with their soul-like pop music. A great hit was the up-tempo number I’m So Excited which is still a success on every dance floor. This sparkling arrangement by Peter Kleine Schaars certainly provides the excitement that is suggested in the title.

For Brass Quintet and Concert Band-Legendary composer arranger and author Rayburn Wright is responsible for initiating the storied jazz program at the Eastman School of Music and was also a composer for film and television. His masterful setting of Shakermelodies includes the familiar Simple Gifts along with The Happy Journey and I've Set My Face for Zion's Kingdom. Used to feature a separate brass quintet or with members within an ensemble's brass section this is truly a memorable setting adapted by current Eastman Wind Ensemble conductor Mark Davis Scatterday. Dur: 9:50 (Grade 5)Audio recorded by the Canadian Brass and the Eastman Wind Ensemble on Manhattan Music (OD7368) – Mark Davis Scatterday conductor

Musaic (1969) by Per Nørgård - for Brass Ensemble and Electronics. Instr.: 5 Cornets 3 Trombones and Electronics Progamme Note Among my compositions for brass band three (“Backlight” “Massifs” - crystals - cascades” “Musaic”) all belong to a three-dimensional space. Thus “Massifs - crystals - cascades” was proclaimed from a mountainside towards the audience in the Norwegian town Tromsø and “Backlight” to the special room of the new concert hall at The Music Conservatory of Jutland Denmark.  “Musaic” was composed in 1969 for the inauguration of Edition Wilhelm Hansen’s new branch in Århus Jutland. Short movements for brass were intermittently heard on the street. In the concert hall all the movements were however heard - also the ones already played; by means of a continuous tape individual fragments of the ´street music´ were gradually collected into one concluding uninterrupted piece lasting all in all 10 minutes a mus(a)ic/muza(i)k…  A synthesis can be heard on a CD from 2007 (by the Brass Ensemble of The Royal Danish Conservatory Jutland) with the note that the work might be much longer when performed live.  Per Nørgård (2007)  Parts available: KP01903A

Score for this piece which was comissioned by London Brass and first performed in 1992.Quoting composer: The piece was completed without title on 12th August 1992. A title once considered was Canons Chorales and Waltzes butthis was dropped since there was only one canon (the opening) and only genuine waltz (apart from a passage towards the end which superimposes the canon over a waltz rhythm). The following day I read the paper that John Cage haddied - the day I finished writing. For this reason but mainly because Cage was the most revolutionary practical music thinker of the 20th century this piece is dedicated to him. His influence on my music may be perceived underthe 'very un-Cagein' surface: though stylistically there may be little in For John Cage that may have been to his taste I hope he would at least have appreciated its diversity its non-simultaneous multiplicity.Parts areavailable on hire or special order. Duration 15 minutes.

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship Bergen February 1989. EBML conducted by Michael Antrobus. The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991. The composer: In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material. When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius that revolves(?= turn upside down) heaven and earth. (Well not a good translation I¬?m afraid). The fast sections reflects the mighty winds from the north. In the middle section I borrowed a folksong-like tune (by C. Elling a norwegian composer). The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest. Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren maar bovenal te respecteren. Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Ruders writes: 'gl0rIA' is subtitled: 'a relique for large chorus and 12 brass-instruments. At the same time it is an exercise for chorus because only vowels do occur or virtually no consonants are heard. The second part of the Missa Ordinarium the Gloria in Exelcis Deo makes the literary basis of 'g10rIA' but I employ only the vowels which in their full context form a 'non-language' - fragments of a tradition. A less dim vision of the 'severed body' appears in the center of the piece where the Domini Fili-section surfaces in its original shape. 'gl0rIA' is a 20th century composer’s hommage to the innocent faith of bygone days and a fanfare in honour of ClaudioMonteverdi; thus the ever present elaborations of the introduction to the Vespro Della Beate Vergine. Superimposed on the 'torso' of Latin I wedge in a quotation from the Spanish renaissance poet Gonzalo de Berceo’s 'Duelo de la Virgen' a surrealistic Lamento in which the Jews sent by Pilate to stand guard at the tomb of Christ mock and ridicule Maria Jesu mother. Thus a shadow has been cast over the jubilant religious appraisal of the past which today’s knowledge of atrocities and enormities engineered by Mankind has - alas - made so hard to repeat.

How Will I Know ? Saving All My Love For You ? I Wanna Dance With Somebody ? I Will Always Love You. Par HOUSTON WHITNEY / BROWN MICHAEL (Arr.). Dix années se sont écoulées depuis la disparition de la chanteuse américaine Whitney Houston, mais le monde n?a pas oublié sa voix sublime. Ses tubes intemporels ? ballades ou chansons bourrées d?énergie ? s?entendent toujours à a radio. Cet irrésistible medley comprend certains de ses plus grands succès : « How Will I Know », « Saving All My Love for You », « I Wanna Dance with Somebody » et « I Will Always Love You ». / Date parution : 2022-03-15/ Recueil / Brass Band