In Memoriam Dr. Klaus Brandstätter-Sunset Serenade est un hommage du compositeur à un collégue musicien qui perdit la vie de maniére inattendue. Malgré les tristes circonstances de sa création Sunset Serenade refléte essentiellement des souvenirsheureux et un sentiment de gratitude pour les bons moments passés ensemble et les expériences partagées. Le caractére généralement tranquille de cette ?uvre symbolise l'acceptation de la nature éphémére des êtres humains.

Par MILLER GLENN. Un arrangement classique par Mark Freeh, offrant une suite en quatre mouvements de nombres de Glenn Miller classique dont In the Mood, Moonlight Serenade, Pennsylvanie 6-5000 et patrouille américaine./ Répertoire / Brass Band

Saraband & Trio. Par HAENDEL GEORG FRIEDRICH / SCHUBERT. / Niveau : Difficile / Répertoire / Brass Band

The Canadian Brass Limited Edition Series Brass Quintet-Six of the best-loved songs from the swing bandleader as recorded by the Canadian Brass: Moonlight Serenade £ A String of Pearls £ Danny Boy £ American Patrol £ At Last £ In the Mood. Advanced Level.

Flexible instrumentation for brass woodwind or combined ensemble. Arranged by Haakon Esplo.InstrumentationScorePiano/Organ2 Flutes2 Oboes3 ClarinetsBassoon2 Horns2 Trumpets3 TrombonesTimpaniPercussion1st Violin2nd Violin3rd Violin - in lieu of Viola4th Violin - easyViolaCelloBassDuration: 8 minutes

Manhattan was commissioned by the United States Army Band for their solo cornet player Woodrow English and first performed by them in Carnegie Hall New York in November 2003. The two-movement work demonstrates both the lyrical and technical abilities of this outstanding player. The 'theme' is a weekend in New York and the opening bluesy movement Saturday Serenade describes the city on a Saturday night. While writing the second movement Sunday Scherzo the composer pictured an early morning jog in Central Park. This vivaciously rhythmic second movement ends with an even quicker coda bringing the work to a brilliant close. Each movement can also be playedindividually when a shorter solo is required.

Simon Dobson wrote his 'Four Sketches' at the request of Peter Bossano Head of Brass at the Royal College of Music in recognition of the 25th anniversary of Benjamin Britten’s death. The first movement 'Fanfare' quotes directly from the opening violin melody from Britten’s song cycle Les Illuminations. This melodic line is superimposed upon sonorous Lydian mode chords to project a majestic sound. The second movement 'Prayer' is a definite contrast being and much more reflective and pensive in it’s mood and featuring a dream like euphonium cadenza. The third movement 'Funeral March' builds from a soft chordal opening to a chaotic and confusedfortississimo climax with flourishes in the cornets and pounding tri-tones across the basses before plunging into silence for a flugel cadenza to finish. The final Finale movement is much more positive from the off with its jaunty melodies over a Brittenesque ostinato. The block chordal passages offer a crashing climax making for an exciting conclusion to an excellent new work for the medium. Simon Dobson’s 'Four Sketches' was the winning entry in the European Brass Band Composer Competition held in Brussels in March 2002.

South Down Pictures was commissioned by Millenium Brass 2000 an organisation comprising three brass bands from the county of Sussex England.The bands (Patcham Silver Hangleton and Brighton Silver) had got together to organise many events to mark the new millennium and these culminated in a concert in Hove Town Hall on July 9th 2000 when all three bands combined to give the first performance of South Down Pictures. The composer spent much of his childhood amongst the South Downs a range of hills in Sussex which runs parallel to the sea.Opening with a strong unison passage interrupted briefly by faster figures based on the interval of a fifth South Down Picturesdevelops with an often-passionate legato melody. Reaching a climax this is then followed by the main vivo section of the work whose main theme is based on the earlier ‘fifth’ figures. A bridge passage leads to a short chorale figure and a rhythmic climax which dissolves into a plaintive cornet solo over staccato chords. This theme is taken up by the whole band and leads back to a recapitulation of the main theme and earlier material. The cornet tune returns triumphantly in the major key before the opening unison passage reappears to provide a stirring coda.

From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title as well as being a play-on-words implies the nature of the work. It is a bright optimistic and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme. Fig. E sees the music of the opening bars fully realised with flourishes from the euphonium and baritones representing swirling clouds shooting stars or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

This composition by Bertrand Moren presents various dreams which could have an effect on a dreamer’s life. Its very high level of difficulty provides a great challenge for the conductor and musicians. You will be taken through a living Nightmare with spine-chilling passages as dissonant chords alternate with aggressive percussion. Daydream is a patchwork of solos with all the brass band soloists playing serene and soft melodic lines with a virtuosic trombone cadenza. Finally Visions portrays visions of insanity reflected by violent and discordant descending motifs leading to visions of joy presented in a sparkling and cheerful finale.

This new composition for brass band makes an ideal concert opener. Majestic chords and energetic rhythms hold the listener spellbound and all the instruments in the band are given the opportunity to display their range of beautiful sound colours.