SKU: BT.DHP-1115071-050

9x12 inches. English-German-French-Dutch.

Le Lion de Belfort was composed for the official inauguration of the sculpture Le Lion de Belfort: an enormous red sandstone lion that dominates the landscape of the French city of Belfort. This 22 metre long and 11 metre high lion symbolises the heroic French resistance during the Prussian siege of Belfort in 1870-1871. The composer added a narrator and three-part choir to the concert band instrumentation, who utilise texts written specially for the occasion by Jean Ehret.The workâ??s première took place at the inauguration of Le Lion de Belfort on 28 November 2010, 130 years after sculptor Frédéric Auguste Bartholdi (1834-1904) completed the statue.

Dit werk is geschreven voor de officiële inwijding van het beeldhouwwerk Le Lion de Belfort: een enorme uit rodezandsteen gebeeldhouwde leeuw die het gezicht van de Franse stad Belfort bepaalt. De 22 meter lange en 11 meterhoge leeuwsymboliseert het heldhaftige Franse verzet tijdens het beleg van Belfort door de Pruisen in 1870-1871. De componist voegde aan het harmonieorkest een verteller en driestemmig koor toe, waarbij hij gebruikmaakte van despeciaalvoor deze gelegenheid geschreven teksten van Jean Ehret.De première van de compositie vond - ter gelegenheid van die inwijding - plaats op 28 november 2010, maar liefst 130jaar nadat het standbeeld door de Franse beeldhouwer FrédéricAuguste Bartholdi (1834-1904) werd voltooid.

Le Lion de Belfort (Der Löwe von Belfort) wurde fu?r die offizielle Einweihung der gleichnamigen Skulptur geschrieben: Diese ist ein riesiger Löwe aus Sandstein, der das Bild der französischen Stadt Belfort prägt. Der 22 Meter lange und 11 Meter hohe Löwe symbolisiert den heldenhaften Widerstand der Franzosen während der preu�ischen Belagerung Belforts 1870-1871. Der Komponist ergänzte die Blasorchesterbesetzung um einen Erzähler und einen dreistimmigen Chor, die speziell fu?r diesen Anlass von Jean Ehret verfasste Texte vortragen.Die Premiere dieses Werke fand bei der Einweihung des Lion de Belfort am 28. November 2010 statt - 130 Jahre nachdem derBildhauer Frédéric Auguste Bartholdi (1834-1904) die Statue vollendet hatte.

an de Haan a composé ce morceau pour lâ??inauguration officielle du Lion de Belfort, une sculpture monumentale en grès rose dominant la ville de Belfort (France). 22 m de long et 11 m de haut, ce lion symbolise la résistance héro que de la ville, assiégée par lâ??armée prussienne pendant la guerre de 1870-1871. Cette pièce est interpréter avec un Choeur mixte trois voix et un Récitant (Textes écrits spécialement par Jean Ehret).La première mondiale de lâ??oeuvre a eu lieu le 28 novembre 2010, dans le cadre de la cérémonie officielle inaugurant le Lion, cent trente ans après sa livraison par le sculpteur français, Frédéric Auguste Bartholdi (1834-1904).

Le Lion de Belfort è un brano commissionato dallâ??Orchestra di Fiati della citt di Belfort in Francia. Jan de Haan ha composto questo brano per lâ??inaugurazione ufficiale del Leone di Belfort, una scultura monumentale in ceramica rosa che domina la citt . Questo brano può essere eseguito con coro misto a tre voci e una voce recitante (testi scritti da Jean Ehret).

SKU: HL.49044383

ISBN 9790001199896. UPC: 841886022560. 7.5x10.75x0.084 inches. Latin.

SATB with organ (or 2nd organ ad lib.).

SKU: HL.49012131

ISBN 9790001132251. UPC: 073999672862. 8.25x11.75x0.077 inches. Latin.

A choral setting of four Latin psalms. This new work by one of the most important contemporary Czech composers was commissioned for a major international festival of a cappella choirs in Germany and is a significant addition to the repertoire, equally suitable for use in concert or in a liturgical context.

SKU: HL.48021234

ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches.

Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.

Publisher: Boosey & Hawkes

Difficulty level: 4 (for chorus)

Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.

There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.

This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.

Duration: 21 minutes

Paul Spicer, Lichfield, 2011.