SKU: BT.DHP-0940579-015
De Italiaanse componist Ennio Morricone schreef in de afgelopen dertig jaar de muziek voor meer dan tweehonderd films, waaronder The Mission (1986). Roland Kernen koos een van de bekendste thema's uit deze film - Gabriel’sOboe - en bewerkte het tot een prachtig solowerk voor trompet en blaasorkest.Der italienische Komponist schreib in seiner erfolgreichen Karriere die Musik zu mehr als 200 Filmen, so auch zum Streifen The Mission. Aus dieser Filmmusik wählte Roland Kernen das Stück Gabriel's Oboe und bearbeitete es zu einem prächtigen Solowerk für Flügelhorn und Blasorchester. Ein romantisches Stück als perfekter Ausklang eines lauen Sommerabends...
SKU: BT.DHP-0940579-215
SKU: CN.R10011
Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves.
SKU: HL.49025354
ISBN 9790001010481.
(2 Floten, 2. ad lib.; 2 Oboen, 2. ad lib.; 2 Fagotte, 2. ad lib.; 1 Klarinette in Es, 3 Klarinette in B, 2 Alt-Saxophone in Es, 2. ad lib.; 1 Tenor-Saxophon in B, 1 Bariton-Saxophon in Es ad lib., 4 Trompeten in B, 3./4. ad lib.; 4 Horner in Es, 3./4. ad lib.; 3 Posaunen, 1./2. ad lib.; 2 Flugelhorner in B, 3 Tenorhorner in B, 1 Bariton, 2 Tuben, Kontrabass ad lib., Pauken ad lib., Schlagzeug); Chor ad lib.
SKU: PR.41541142L
UPC: 680160612451. 11 x 14 inches.
SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: CN.R10177
Much of the thematic material for this lovely work by Holst is derived from the opening legato melodies provided by soli horns. The themes morph into several different dance feels throughout the remainder of the piece always keeping you guessing what will come next. Geoffrey Brand has done a masterful job of adapting the score for the modern concert band.Holst's original version of 'The Morning of the Year' was written in 1926-27 as a choral ballet. It was the first work to be commissioned by the music department of the BBC. The first concert performance was on 17 March 1927 at the Royal Albert Hall, London conducted by the composer. In 1979 Colin Matthews and Imogen Holst edited this concert version with the approval of the publisher and G&I Holst Ltd. The chorus has been left out and several of the dances have been shortened. Some additional percussion was introduced to suggest the sounds the dancers would have provided in a stage performance. Geoffrey Brand arranged the work for concert band in 1995 with permission from G&I Holst Ltd.
SKU: BT.DHP-1094724-140
9x12 inches. English-German-French-Dutch.
Sunset - the sun heads towards the western horizon and slowly slips from view. The sky creates a dazzling display of yellows, oranges, and reds, before turning a calm blue, then purple, and finally black. Such sunsets inspired Jan de Haan to write this piece for solo oboe and concert band. It is dedicated to his daughter, Hermanda. Zonsondergang. De zon verdwijnt langzaam aan de westelijke horizon. De hemel is in rode en oranje kleuren getooid... Deze prachtige aanblik was de inspiratie voor dit ontroerende solowerk voor hobo en harmonieorkest. Jan de Haan schreefhet in de herfst van 2008 en droeg het op aan zijn dochter Hermanda.Sonnenuntergang: Die Sonne verschwindet langsam am westlichen Horizont. Der Himmel ist in Rot- und Orangetöne getaucht. Dieser oft erlebte, aber immer wieder aufs Neue prachtvolle Anblick bildete die Quelle der Inspiration für ein ruhiges, aber intensives und damit sehr eindrucksvolles Solowerk für Oboe und Blasorchester, das Jan de Haan im Herbst 2008 seiner Tochter Hermanda widmete. Il tramonto del sole ispira da sempre pittori, fotografi , scrittori, poeti e anche compositori. Jan de Haan si è lasciato sedurre da questo istante meraviglioso, quando il cielo inventa infinite sfumature di arancio e rosso, su uno sfondo appena visibile di azzurro. Spettacolo grandioso che si ripete da sempre, ma che non finisce mai di stupire. In Sweet Sunset il ruolo principale è affi dato all’oboe.
SKU: BT.DHP-1094724-010
SKU: CN.S11177
SKU: CN.S11035
This work portrays the reflections of the composer during his life as an undergraduate. All the elements of student life are featured; walks along the river, the organist lending his fugue a touch of bravura, leading to a reverie with changing meter, even a gentle hint of romance. This tuneful overture is certainly not too serious and allows all the members of the band to enjoy themselves.Bridges Over the River Cam was commissioned by Cambridge Youth Concert Band with the help of Eastern Arts Association. The first performance of this work was given by the Cambridge Youth Concert Band, conducted by the composer, at the Concert Hall of Cambridge University Music School, May 13, 1990.
SKU: BT.AMP-145-140
There are just over twenty secular cantatas in Bach's prolific output, which include The Coffee Cantata (No 211), The Wedding Cantata (No 202), Phoebus and Pan (No 201) and the Hunt Cantata (No 208) which contains the famous aria Sheep May Safely Graze. Written for four vocal soloists it was originally scored for a relatively large orchestra (including flutes (recorders), oboes and horns) and mixed choir. Although secular in character, the words describe how well a faithful shepherd keeps watch over his flock and hence has obvious allusions to the teachings of the Christian church. Bring a bit of the Baroque era to your concert with this first class arrangement by Philip Sparke.Bach schreef zijn Jachtcantate (BWV 208) - met daarin de aria Schafe können sicher weiden (Sheep May Safely Graze) - in 1713, ter gelegenheid van de verjaardag van hertog Christian van Sachsen-Weißenfels. Later volgdenbewerkingen voor vergelijkbare verjaardagsfeesten en naamdagen. De cantate is geschreven voor vier solisten (Diana, Pales, Endymion en Pan), een relatief groot orkest (met (blok)fluiten, hobo’s en hoorns) en koor. Sheep MaySafely Graze wordt gezongen door Pales, de godin van kudden en weiden, begeleid door een paar blokfluiten of dwarsfluiten. Deze bewerking van Philip Sparke betekent een verrijking voor elk repertoire.Bachs produktives Schaffen brachte nur etwa zwanzig weltliche Kantaten hervor, darunter auch die Jagd-Kantate (BWV 208),welche die berühmte Arie Schafe können sicher weiden enthält. Geschrieben für vier Solisten, ist die Kantate für ein relativ großes Orchester instrumentiert, das neben Flöten, Oboen und Hörnern auch einen gemischten Chor vorsieht. Bringen Sie mit dieser gelungenen Bearbeitung etwas barocke Atmosphäre in Ihr Konzert! L’immense production de Jean-Sébastien Bach ne contient qu’une vingtaine de cantates profanes dont la Cantate du café (BWV 211), la Cantate du mariage (BWV 202), Phébus et Pan (BWV 201) et la Cantate de la chasse (BWV 208), dont est extrait l’air Sheep May Safely Graze (Schafe können sicher weiden - Que les brebis paissent en paix). Bach était depuis peu au service du duc de Weimar lorsqu’il accepta, en 1713, une invitation Weißenfels pour l’anniversaire du duc Christian de Saxe-Weißenfels. cette occasion, il composa la Cantate de la chasse, une cantate de félicitations l’adresse du duc, passionné de chasse. Par la suite, Bachremania cette cantate pour célébrer d’autres fêtes et anniversaires. La Cantate de la chasse est orchestrée pour quatre voix solistes incarnant des figures mythologiques (Diane, Pales, Endymion et Pan), un ensemble orchestral assez large (incluant des fl tes/fl tes bec, des hautbois et des cors) et un Chœur mixte. Le texte, chantant les vertus de la chasse, est un panégyrique peine déguisé du duc régnant. Accompagnée par deux fl tes (fl tes bec), Palès, déesse des troupeaux et des p tures, entonne l’air Sheep May Safely Graze. Bien que de caractère profane, le texte utilise l’image du berger comme l’image même de la gr ce en référence une parole fondamentale de Jésus. L’immenso lavoro di Johann Sebastian Bach contiene una ventina di cantate profane tra le quali la Cantata della Caccia (BWV 208) dalla quale è estratta Sheep May Safely Graze (Schafe können sicher weiden). Accompagnata da due flauti dolci, Pales, Dea dei greggi e dei pastori, intona l’aria Sheep May Safely Graze. Pur se di carattere profano, il testo utilizza l’immagine del pastore come l’immagine della grazia riportata ad una parola fondamentale di Gesù.
SKU: BT.AMP-145-010
There are just over twenty secular cantatas in Bach's prolific output, which include The Coffee Cantata (No 211), The Wedding Cantata (No 202), Phoebus and Pan (No 201) and the Hunt Cantata (No 208) which contains the famous aria Sheep May Safely Graze. Written for four vocal soloists it was originally scored for a relatively large orchestra (including flutes (recorders), oboes and horns) and mixed choir. Although secular in character, the words describe how well a faithful shepherd keeps watch over his flock and hence has obvious allusions to the teachings of the Christian church. Bring a bit of the Baroque era to your concert with this first class arrangement by Philip Sparke.Bach schreef zijn Jachtcantate (BWV 208) - met daarin de aria Schafe können sicher weiden (Sheep May Safely Graze) - in 1713, ter gelegenheid van de verjaardag van hertog Christian van Sachsen-Weißenfels. Later volgdenbewerkingen voor vergelijkbare verjaardagsfeesten en naamdagen. De cantate is geschreven voor vier solisten (Diana, Pales, Endymion en Pan), een relatief groot orkest (met (blok)fluiten, hobo’s en hoorns) en koor. Sheep MaySafely Graze wordt gezongen door Pales, de godin van kudden en weiden, begeleid door een paar blokfluiten of dwarsfluiten. Deze bewerking van Philip Sparke betekent een verrijking voor elk repertoire.Bachs produktives Schaffen brachte nur etwa zwanzig weltliche Kantaten hervor, darunter auch die Jagd-Kantate (BWV 208), welche die berühmte Arie Schafe können sicher weiden enthält. Geschrieben für vier Solisten, ist die Kantate für ein relativ großes Orchester instrumentiert, das neben Flöten, Oboen und Hörnern auch einen gemischten Chor vorsieht. Bringen Sie mit dieser gelungenen Bearbeitung etwas barocke Atmosphäre in Ihr Konzert! L’immense production de Jean-Sébastien Bach ne contient qu’une vingtaine de cantates profanes dont la Cantate du café (BWV 211), la Cantate du mariage (BWV 202), Phébus et Pan (BWV 201) et la Cantate de la chasse (BWV 208), dont est extrait l’air Sheep May Safely Graze (Schafe können sicher weiden - Que les brebis paissent en paix). Bach était depuis peu au service du duc de Weimar lorsqu’il accepta, en 1713, une invitation Weißenfels pour l’anniversaire du duc Christian de Saxe-Weißenfels. cette occasion, il composa la Cantate de la chasse, une cantate de félicitations l’adresse du duc, passionné de chasse. Par la suite, Bachremania cette cantate pour célébrer d’autres fêtes et anniversaires. La Cantate de la chasse est orchestrée pour quatre voix solistes incarnant des figures mythologiques (Diane, Pales, Endymion et Pan), un ensemble orchestral assez large (incluant des fl tes/fl tes bec, des hautbois et des cors) et un Chœur mixte. Le texte, chantant les vertus de la chasse, est un panégyrique peine déguisé du duc régnant. Accompagnée par deux fl tes (fl tes bec), Palès, déesse des troupeaux et des p tures, entonne l’air Sheep May Safely Graze. Bien que de caractère profane, le texte utilise l’image du berger comme l’image même de la gr ce en référence une parole fondamentale de Jésus. L’immenso lavoro di Johann Sebastian Bach contiene una ventina di cantate profane tra le quali la Cantata della Caccia (BWV 208) dalla quale è estratta Sheep May Safely Graze (Schafe können sicher weiden). Accompagnata da due flauti dolci, Pales, Dea dei greggi e dei pastori, intona l’aria Sheep May Safely Graze. Pur se di carattere profano, il testo utilizza l’immagine del pastore come l’immagine della grazia riportata ad una parola fondamentale di Gesù.
SKU: BT.DHP-1104721-010
Dieses lyrische Werk für Oboe und Blasorchester ist dem früheren ersten Oboisten der Scala in Mailand gewidmet - dem berühmten Augusto Loppi. Die Urauff ührung fand im italienischen Ort Monterosi statt - mit Jacob de Haan als Dirigent und Loppi als Solist. Der melodiöse Klang des Werkes erinnert an die großen italienischen Opernkomponisten, wie Verdi und Donizetti, aber auch an den Filmmusikkomponisten Morricone, unter dessen Leitung Loppi das berühmte Solo Gabriel’s Oboe aus The Mission spielte.Cette pièce lyrique est dédiée au grand Augusto Loppi, ex-hautbois solo de l’Orchestre de la Scala de Milan. La première a eu lieu Monterosi dans la région du Latium, en Italie, sous la direction de Jacob de Haan avec Augusto Loppi en soliste. L’idiome sonore de cette œuvre n’est pas sans nous rappeler l’écriture des maîtres de l’opéra italien tels que Verdi et Donizetti, mais aussi celle du compositeur de musiques de films, Ennio Morricone, sous la direction duquel Augusto Loppi a interprété le célèbre solo Gabriel’s Oboe extrait de la bande originale du film The Mission.
SKU: BT.DHP-1104721-140
SKU: PE.EP68707
ISBN 9790300761626. 303x232 inches.
The Penguin Cafe Orchestra, founded by Simon Jeffes, created an instantly recognisable sound world, beautifully crafted to convey simple wonder and joy. Phillip Littlemore's arrangement for concert band of their famous Music for a Found Harmonium perfectly captures the exuberance of this uplifting music.
SKU: BT.DHP-1125314-010
Cherubini made his Paris debut with Démophon, which premiered in 1788. Tohru Takahashi has arranged this dramatic overture for concert band, with specific parts for oboe, bassoon and saxophone among others. However, since the important parts are also included as cues in the score, it can be adapted to a more limited instrumentation. In het jaar 1788 debuteerde de Italiaanse componist Luigi Cherubini in Parijs met zijn opera Demophon. Van de dramatische ouverture schreef Tohru Takahashi een arrangement voor blaasorkest. Bijzondere partijen zijn weggelegd voor hobo, fagot en saxofoon. Omdat de belangrijkste stemmen als cues in de partituur zijn opgenomen, kunt u het werk ook met een kleinere bezetting uitvoeren. Die Oper Démophon war Cherubinis erstes Werk in Paris und wurde 1788 uraufgeführt. Tohru Takahashi arrangierte die dramatische Ouvertüre aus der Oper für Blasorchester. Besondere Rollen spielen unter anderem Oboe, Fagott und Saxophon. Da die wichtigen Stimmen auch als Stichnoten in der Partitur notiert sind, kann das Stück auch mit einer kleineren Instrumentierung aufgeführt werden. Cherubini fi t ses débuts Paris avec l’oeuvre Démophon, qui fut créée en 1788. Tohru Takahashi a arrangé cette ouverture dramatique pour orchestre d’harmonie, avec, entre autres, des parties spécifiques pour hautbois, basson et saxophone. Cependant, compte tenu de l’importance de ces parties, celles-ci figurent également sous la forme de petites notes dans d’autres pupitres, ce qui permettra cet arrangement grandiose d’être interprété par un orchestre dont l’instrumentation est réduite.Luigi Cherubini debuttò a Parigi con l’opera Démophon da lui creata nel 1788. Tohru Takahashi ha arrangiato per orchestra di fiati questa drammatica ouverture, con parti specifiche per l’oboe, il fagotto e il sassofono. Visto però che le parti importati sono menzionate come guide, il brano può essere eseguito anche da organici ridotti.
SKU: BT.DHP-1125314-140
SKU: CN.S11260
Geoffrey Brand's arrangement of Berlioz's Shepherds' Farewell form L'Enfance du Christ is restrained, delicate, and contemplative. In this arrangement for small wind orchestra, the instruments are called upon to display their softer persuasive sounds in order to retain the sensitive nature of this tender music.L'Enfance du Christ (The Childhood of Christ), written between 1850 and 1854, is the nearest that Berlioz got to writing an oratorio. It is in three parts; he called it a 'sacred trilogy.' Throughout, the music is restrained, delicate, and contemplative. In its original version, The Shepherds' Farewell is scored for chorus accompanied by two oboes, two clarinets, and strings. With these selected colors, Berlioz achieves a masterpiece of delicacy and serenity. In this arrangement for small wind orchestra without chorus, the wind instruments are called upon to display their softer persuasive sounds in order to retain the sensitive nature of this tender music. This arrangement may be used with chorus utilizing the original chorus parts. The key is one half tone lower than the original setting.
SKU: CN.S11254
Full of intrigue and mystery, Variations on a Bass Theme is a treat for the ears. A plethora of thematic material emerges out of tuba section in the opening bar, creating the jumping off point for the whole work. Lloyd takes the listener down numerous unexpected paths, conjuring many visual images along the way as if watching a movie.Variations on a Bass Theme was written in 1986 for brass band and the original version was titled Diversions on a Bass Theme. The composer himself wrote: This piece is a set of variations. Traditionally variations were what they said they were, i.e. a given tune was treated in a variety of ways. The pattern of this work is made the other way round: a number of tunes grow out of the first bar, played by the tubas, which provide the motif for the whole work. Arranger's Note: The suggestion to arrange the work for symphonic wind band came from George Lloyd: he felt the piece lent itself to such transcription and asked if I would be interested in undertaking it. Interestingly, he always referred to the piece as his Variations on a Bass Theme and I have reflected this in the title of this concert band version. In all other respects the work is exactly as George Lloyd wrote it.
SKU: CN.S11175
From majestic to pastoral to dance-like, Land of the Long White Cloud is Philip Sparke's representation of New Zealand. This piece is a wonderful addition to the concert band repetoire.Long before Europeans ventured out of sight of land, the bold and restless ancestors of the Maori people were making voyages of thousands of miles across the world's greatest oceans. It was around 1000 AD that they landed in New Zealand. The discovery of New Zealand is attributed in Maori tradition to Kupe and the circumstances of the landfall gave the country its Maori name. As land was approached, a long, flat volcanic cloud could be seen. Kupe's wife Hine-te-aparangi, looked to the horizon and cried out, He ao! He ao! A cloud! A cloud! The name of Aotearoa was given to the islands - The Land of the Long White Cloud. Land of the Long White Cloud was originally conceived as a brass band work as a result of a commission by the New Zealand Brass Band Association for their National Championships held in 1980 in Christchurch. This transcription by the composer was commissioned by Keith Allen and Birmingham Schools' Wind Orchestra who gave the first performance in the Adrian Boult Hall, Birmingham, England on Sunday 15 May 1988.
SKU: MH.1-59913-020-3
ISBN 9781599130200.
Program Notes: Festival in Russia is a transcription for concert band of Anatoli Liadov's dazzling orchestral work, Polonaise (Op. 49). Written at the turn of the century, its energetic dance rhythms and melodic expressiveness will bring a delightful Old World charm to today's audiences. Liadov (1855-1914) was a student of Rimsky-Korsakov at the St. Petersburg Conservatory, and succeeded him as the composition teacher. (One of Liadov's most notable students at the Conservatory was Sergei Prokofiev.) At the time the Polonaise was written (1899), Liadov was at the height of his profession and one of his era's most respected and widely-known composers. The first performance of this transcription for concert band was given by the West Virginia University Wind Symphony at the Kennedy Center for the Performing Arts on February 24, 1988, Don Wilcox conducting. Ensemble instrumentation: 1 Piccolo, 4 Flute I, 4 Flute II, 1 Oboe I, 1 Oboe II, 1 English Horn, 1 Bassoon I, 1 Bassoon II, 1 Eb Clarinet, 4 Bb Clarinet I, 4 Bb Clarinet II, 4 Bb Clarinet III, 1 Eb Alto Clarinet, 1 Eb ContrabassClarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 3 Eb Alto Saxophone I, 3 Eb Alto Saxophone II, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Cornet I, 3 Bb Cornet II, 3 Bb Cornet III, 2 Bb Trumpet I, 2 Bb Trumpet II, 2 F Horn I & III, 2 F Horn II & IV, 2 Trombone I, 2 Trombone II, 2 Bass Trombone, 3 Euphonium, 2 Euphonium T.C., 4 Tuba, 2 Timpani, 2 Bells & Vibraphone, 3 Chimes, Triangle & Cymbals, 2 Xylophone & Marimba, 2 Snare Drum & Bass Drum.
SKU: ML.013751080
Solemnity was composed when the composer came back from his first Midwest Clinic in Chicago. Inspired by all the concert bands performing there, and all the fellow composers met at this occasion, he decided to write a kind of fanfare work, leading to a fast theme on a driving rhythm.The piece begins like a fanfare with a solemn character which gives the title of the work, the brass here have a nice part to play. Then, a new theme full of energy, using the same rhythmic motive as the fanfare theme, is exposed by the high woodwinds and finally by more instruments. The central part is a slow one, where a melancolic theme is exposed by the oboe, and finally the rest of the band. After a fugato section, the energic theme is back to lead to a brilliant coda.Solemnity werd gecomponeerd toen de componist terugkwam van zijn eerste Midwest Clinic in Chicago. Geïnspireerd door alle concertbands die daar optraden en alle collega-componisten die hij bij deze gelegenheid ontmoette, besloot hij een soort fanfarewerk te schrijven, leidend naar een snel thema op een stuwend ritme.Het stuk begint als een fanfare met een plechtig karakter dat de titel van het werk geeft, de koperblazers hebben hier een mooie rol te spelen. Dan volgt een nieuw thema vol energie, gebruikmakend van hetzelfde ritmische motief als het thema van de fanfare, belicht door de hoge houtblazers en tenslotte door meer instrumenten. Het centrale deel is langzaam, waar een melancholisch thema wordt belicht door de hobo en uiteindelijk de rest van de band. Na een fugatogedeelte is het energieke thema terug om te leiden naar een briljante coda.Solemnity a été composée lorsque le compositeur est revenu de sa première Midwest Clinic à Chicago. Inspiré par tous les orchestres de concert qui s'y produisaient et par tous les collègues compositeurs rencontrés à cette occasion, il a décidé d'écrire une sorte de fanfare, conduisant à un thème rapide sur un rythme entraînant.La pièce commence comme une fanfare avec un caractère solennel qui donne le titre de l'œuvre, les cuivres ont ici un beau rôle à jouer. Ensuite, un nouveau thème plein d'énergie, utilisant le même motif rythmique que le thème de la fanfare, est exposé par les bois aigus et finalement par d'autres instruments. La partie centrale est une partie lente, où un thème mélancolique est exposé par le hautbois, puis par le reste de l'orchestre. Après une section fugato, le thème énergique est de retour pour mener à une brillante coda.Solemnity wurde komponiert, als der Komponist von seiner ersten Midwest Clinic in Chicago zurückkam. Inspiriert von all den Konzertkapellen, die dort auftraten, und all den Komponistenkollegen, die er bei dieser Gelegenheit traf, beschloss er, eine Art Fanfare zu schreiben, die zu einem schnellen Thema auf einem treibenden Rhythmus führt.Das Stück beginnt wie eine Fanfare mit einem feierlichen Charakter, der dem Werk seinen Titel gibt; die Blechbläser haben hier einen schönen Part zu spielen. Dann folgt ein neues, energiegeladenes Thema, das dasselbe rhythmische Motiv wie das Fanfarenmotiv verwendet und von den hohen Holzbläsern und schließlich von weiteren Instrumenten vorgetragen wird. Der Mittelteil ist ein langsamer Teil, in dem ein melancholisches Thema von der Oboe und schließlich vom Rest des Orchesters vorgetragen wird. Nach einem Fugato-Abschnitt kehrt das energische Thema zurück und führt zu einer brillanten Coda.
SKU: MH.1-59913-021-1
ISBN 9781599130217.
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