The word ‘tsunami’ is of Japanese origin. When you look it up in a dictionary you will find that it means ‘a great sea wave produced by submarine earth movement or volcanic eruption’. A megatsunami is the superlative of this awesome expressionof power that nature can create and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred but since then we have become all too familiar with the disastrousconsequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions of many countries for miles around. The tsunamitook the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami such as the island of La Palma one of the Canary Islands. This island is based on oceaniccrust at a fracture zone and as such is one of nature’s time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma the tidal wave will move in the direction of South America where it may reach 50km inland destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air the music creating an oppressiveatmosphere of impending disaster. Themes are interrupted broken off suddenly followed by silence suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake and the megatsunami isa fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature’s force has spent itself resignation sets in and the composition ends with a majestic ode to nature.

Sinfonietta nr. 3-Tracing Time est une commande de la fondation WMC Kerkrade en coop?ration avec la Foundation of Friends of WMC pour le Championnat du Monde 2017 ? Kerkrade aux Pays-Bas. La mati?re musicale de cette ?uvre prend la forme de chronologie d?une carte mentale imaginaire. Ce fil conducteur traverse l??uvre enti?re et se transforme continuellement en de nouveaux rythmes et couleurs sonores. En m?me temps elle assume une structure symphonique bas?e sur trois mouvements encha?n?s. Cette ?uvre satisfait toutes les normes d?une pi?ce de concours ou de concert de haute qualit? : elle est exigeante spectaculaire innovante et irr?sistible.

In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day fullof fun and pleasure awaits! You and the other visitors will be confronted with all the rides attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! Aparade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun is the Haunted House. Here visitors will be challengedto visit a house full of ghosts creepy figures and other ominous things. The clock strikes twelve there is no turning back. Ghosts are whispering yelling screaming... Fortunately it is almost one oclock so we can leave this creepy placequickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have afantastic view over the park but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting you will discover fable figures talking animals and colorful designs. Such a beauty and tranquility. Having had this experience we are ready again for thebig rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bumpagainst someone else. In this tough ride you can prove yourself as a real driver or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest fastest and scariest ride in the park ... we shoulddefinitely do the Roller Coaster! All together in the train the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the topand the train will be plunged down the first drop! Loops corkscrews and other spectacular coaster elements will follow... Before you know it the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [withanimation]Unfortunately everything comes to an end.

Durkle Bandrydge is the name of the composers imaginary world but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser 8 characters are featured each with its ownpeculiarities making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss who is a giant trollguarding the entrance to Durkle Bandryde. At least he is supposed to but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall mysterious and somehow sophisticated character who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady graceful gorgeous absolutely devine and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het ‘happy go lucky’ approach to life. Marsyn Edginton is the Lord of the manor the richest man in town the‘big cheese’ the man with all the power and of course the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread oatcakes scotch eggs porridge and drinks an enormous amount of Scotch Wisky which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them what is a wonderful sight. If you listen carefully you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!

Glitter and glamour good-looking people a lot of Bling Bling and fast cars ? images like these will cross our minds when we think of the movie world. However reality proves to be different : as a rule a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen. A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making and he incorporated them into ?On the Movie Set? . In the first part ?The Clapboard? a ?director?s assistant? is supposed to shout ?Quieton the set?? and ?Action!? as is done before a real scene is shot. Subsequently in order to create the right atmosphere the clacking of a ?Clapboard? should be heard. During a romantic scene we should be transported to another world by means of sweet sounds in the background so romantic music is of course heard in the next part ?Love Scene?. At the end of a long working day ?It?s a wrap? is called on the set to inform everyone that the filming on that day is completed. Now there is only one more thing left to dream of : an Oscar..... Perf. Note: The use of the right props will add to the performance and appreciation of ?On the Movie Set?. A red carpet and a glamorous reception should give your audience the feeling they are attending a real ?opening night?!

In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the scene of action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appears to be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen fromneighbouring villages are busily at work. In the upper chamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some of them sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played by minstrels and of course a plentiful banquet follows.

There are people who are capable of planning well. They live their lives in a well-structured manner and know exactly what they have to do. On the other hand there are also people who are the exact opposite: they want to do too many things at once and are often somewhat absent-minded which occasionally results in frantic situations. The outcome of one such situation is ‘They are coming’. John Emerson Blackstone had been working on a new composition for some time when he received a telephone call from his editor who told him that the deadline was approaching rapidly even worse that it would expire at the end of that same day and that he would drop by in person to fetch thecomposition! Blackstone set to work in a frenzy and completed the last details. When his editor arrived the piece was finished ..... and got its definitive title: ‘They are coming’.

The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001. Once upon a time there was a knight who went to fight and defeat the dragon that had beenkilling the people of his town. There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far away from his home and now is lost. He roames around trying to findhis way home but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon. The knight joins in the festivities but after a long evening is once more leftalone. The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people. However he becomes greatly disillusioned when there is none to be found. Inhis desperation the knight climbs the tower ready to jump off. Suddenly he hears a heavenly voice. Right before him is the most beautiful princess he has ever seen. She graciously thanks him for killing the dragon a spark ingnites between themand they build a life together and.... live happily ever after! Saskia Apon studied harp at Rotterdam School of music. With this instrument she rounded of her studies by passing with credit however it was her love of composition thatremained her focus. Self-taught she began composing at the age of nine. Since then she has written pieces for The Dutch Brass Quintet The Dutch Brass Ensemble The Rotterdam Trombone Quartet and the brass band quintet Brass Ability. Atpresent she is the in-house arranger for The Rotterdam Philarmonic Brass Ensemble. Besides the customary attention for the real splashworks she endeavours to add value to the melodic function of the brass wind instruments in her music. Hercompositions and arrangements can be found on many diverse Cds.The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001. Once upon a time there was aknight who went to fight and defeat the dragon that had been killing the people of his town. There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far awayfrom his home and now is lost. He roames around trying to find his way home but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon. The knight joins inthe festivities but after a long evening is once more left alone. The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people. However he becomesgreatly disillusioned when there is n

Music of the Spheres was commissioned by the Yorkshire Building Society Band and first performed by them at the European Brass Band Championships in Glasgow May 2004.The piece reflects the composers fascination with the origins of the universe and deep space in general. The title comes from a theory formulated by Pythagoras that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the sixknown planets from the sun and thatthe planets each produced a musical note which combined to weave a continuous heavenly melody (which unfortunately we humans cannot hear). In this work these six notes form the basis of the sections Music of the Spheres and Harmonia.The pieces opens with a horn solo called t = 0 a name given by some scientists to the moment of the Big Bangwhen time and space were created and this is followed by a depiction of the Big Bangitself as the entire universe bursts out from a single point. A slower section follows called The Lonely Planet which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life and the constant search for other civilizations elsewhere in the universe. Asteroids and Shooting Stars depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet and the piece ends with The Unknown leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.

Journey of the Lone Wolf tells the story of the hungarian composer Béla Bartók. It was commissioned by Dr. Nicholas Childs for Black Dyke Band who gave the first performance on Sunday 26 January 2014 at the Bridgewater Hall Manchester as part of the Royal Northern College of Music Festival of Brass. The composer's programme notes for each movement: 1. Capturing the Peasants SongAfter the upheaval of moving to Budapest the young Béla Bartók meets Zoltán Kodály and the pair embark on summertime adventures throughout the Hungarian countryside to collect and catalogue theastonishing variety (both harmonically and rhythmically) of gypsy and folk music heard in the Balkans. The arrival of WW1 plunges Bartók's beloved Hungary into chaos.2. Night MusicBartók was at times a cold man aloof and lonely. The odd moments of tenderness he showed are portrayed here in a series of evocative solos. His brief but intense affairs speak of a love he could only long for. Jazz is my night music and here there are hints of what Bartók may have heard in the USA later in his life.3. Flight and FightHaving been forced by the world's evils to leave his homeland of Hungary for America Bartók the anti-fascist felt isolated and angry. In this movement we hear his longing for a simpler time of gypsy folk dances as well as his maturity and depth as a composer finally exploring deeper colours and darker themes.

Shalom Chaverim is an ancient Hebrew (farewell)song which was originally sung at the end of a celebration or meeting. It was and is mostly sung as a round. Freely translated the words mean ?Goodbye friends goodbye and see you again!?. The varying moods at a parting have been captured very well by Andreas Schulte in his arrangement ?Variations on Shalom Chaverim?. The composer himself says about the song ?Although the melody is in a minor key the overall atmosphere in the song is positive. one wishes each other all the best. Saying goodbye however also hurts. When you slow down the pace of the melody and add ?blue notes? in the harmonies this can be sensed immediately.?Schulte refers here to the first variation. The second variation is very intense with possibly even deeper-felt emotions. ?Variations on Shalom Chaverim? ends on a cheerful and positive note in fast tempo and with oriental elements in the melody: ?L'hitra'ot Shalom? (See you again and farewell!).

Selon la légende les Aztèques s?installèrent au bord d?un lac salé le lac Texcoco (surnommé « le lac de la Lune »). Sur un îlot du lac ils fondèrent l?actuelle ville de Mexico. Kevin Houben a largement puisé son inspiration dans cette légende. Lake of the Moon réunit des petits fragments de musique orientale et des rythmes sud-américains. La longue errance des Aztèques ne fut pas sans danger. Le climat sonore est parfois menaçant et inquiétant mais le fi nale exprime l?immense joie du peuple aztèque à l?issue de son long périple - une nouvelle civilisation est née.

Highlights from Walt Disney Pictures'-Johnny Depp and company are back at it with the fourth installment of the blockbuster movie franchise. The soundtrack by Hans Zimmer (in collaboration with noted choral and band composer Eric Whitacre) features familiar swashbuckling melodies alongwith new flamenco-inspired themes performed by the guitar duo Rodrigo y Gabriela. Your concert stage will come alive with this exciting and well-paced medley by Michael Brown. Medley of: Guilty of Being Innocent of Being Jack Sparrow Angelica Mermaids End Credits

Score and Parts-Samuel Scheidt's Canzone Bergamasca for Brass Quintet. Score and parts.Samuel Scheidt (1587-1654) was one of the influential trio of S's (with Heinrich Schutz and Johann Hermann Schein)who played an important part in both the development of German music of the early Baroque and in the survival of a high level of musical life during the devastation of the Thirty Years War.The son of a musical family of Halle in central Germany Scheidt spent most of his life in the city which saw both his birth and his death. From 1605 to 1608 however he went ot Amsterdam to study with the famous Ducth composer and organist Jan PietersSweelinck.Renowned in his day for his Vocal works - especially for his 'Concerti Sacri' - Scheidt achieved lasting fame for his revolutionary contributions to Organ literature. He introduced elements of tonal harmonyin his music and his masterwork 'Tabulatura Nova' marked the end of the German tablature system of notation for Organ.The Canzone Bergamasca marked by lively rhythms and contrapuntal inventiveness comesfrom an early collection of canzonas and dances published in Hamburg in 1621. The work is a 'chain' canzona (similar in form to the canzonas of Gabrieli) in which the material for one section develops out of the material of theprevious section uniquely linking all of the sections together. For additional contrast there is a tripla section in the middle and the work ends with a recapitulation of the first theme.The 'Bergamasca' of the title atthis period refers to the use of melodic material based on a harmonic ground derived from an Italian folk dance of the Bergamo region.