Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

American Composer's Forum – BandQuest Series – Grade 3Rhythm Stand pays tribute to the constant presence of rhythm in our lives: from the pulse of a heartbeat to the rhythmic sounds of the world aroundus. Celebrating the regular order in our lives composer Jennifer Higdon incorporates traditional and non-traditional sounds within a 4/4 swing style setting to heighten student awareness and enhance their creativity. Organized inunique compositional and rhythmic patterns this work invites students to explore multiple ways of organizing sounds and making music.

À l'aide de matériau thématique-motif et structures concerto Baroque, Stephan Adam a créé une oeuvre contemporaine avec nouveaux sons sans être d'avant-garde. Le travail est exigeant, particulièrement en ce qui concerne la technique et de la complexité rythmique. Ce travail a été commandé par la Bundesvereinigung Deutscher Blasmusikverbände (Fédération des Allemands vent musique Organisations) et a été une pièce dans les compétitions au plus niveau avancé. Stephan Adam étudie la musique d'église et de la Composition à Frankfurt am Main - Kurt Hessenberg était l'un de ses professeurs. Il enseigne depuis 1982 à la Berufsfachschule für Musik (Collège d'enseignement de la musique) de Bad Königshofen. / Orchestre D'Harmonie

for Concert Band Mixed Choir and Organ (optional)-Cette messe latine pour chorale et orchestre d?harmonie fut composée en l?honneur du jour de fête de la Sainte Cécile la patronne des musiciens. Pour cette raison beaucoup d?ensembles ont des concerts annuels dédiés à la Sainte Cécile ce qui futla source d?inspiration pour ce morceau. Le style festif optimiste mais aussi réconfortant de cette ?uvre convient parfaitement au caractère du jour de fête de la Sainte Cécile. Après Missa Brevis Missa Katharina et The GospelMass Missa Santa Cecilia est la quatrième messe écrite par le compositeur néerlandais Jacob de Haan.Partitions pour ch?ur disponibles séparément.

Ce célèbre chant de Noël anglo-saxon (dont la mélodie est également connue sous le nom d?Humility) a été composé en 1771 par John Goss (1800-1880) sur un texte d?Edward Caswall (1841-1878). John Goss est né à Fareham dans le Comté du Hampshire en Angleterre. En 1811 il est admis comme choriste à la Chapelle Royale où il étudie auprès de John Stafford Smith et de Thomas Attwood organiste à la cathédrale Saint-Paul de Londres. En 1824 il est nommé organiste à l?église Saint-Luc de Chelsea. À la mort de Thomas Attwood en 1838 John Goss lui succède comme organiste à la cathédrale Saint-Paul. Il compose de nombreux motets et odes pour divers services religieuxexceptionnels célébrés en la cathédrale. En 1872 il quitte son poste à Saint-Paul et est fait chevalier par la reine Victoria. Parallèlement à ses fonctions d?organiste à l?église Saint-Luc et à la cathédrale Saint-Paul John Goss a enseigné l?harmonie à l?Académie Royale de Musique de Londres pendant quarante-sept ans. Parmi ses nombreuses odes encore chantées on peut citer Infant Holy Infant Lowly Praise My Soul et See Amid the Winter's Snow.

Par BRIDGE FRANK. Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge’s best known organ piece and including the chimes ofBig Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band ‘legend’ Timothy Reynish makes a fine alternative toHolst’s two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and alsoby the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music./ Répertoire / Orchestre D'Harmonie

Of Songs and Carols-Festival Christmas medley for concert band with mixed choir women's choir brass choir harp and organ. Includes: Good King Wenceslas - It Came upon the Midnight Clear - Joy to the World - Deck the Hall - Angels We Have Heard on High - The First Noel - Silent Night - Fanfare and Processional - O Come All Ye Faithful.

Arr. Timothy Johnson. Par MOZART WOLFGANG AMADEUS. 'Melody is the very essence of music. ' -W. A. Mozart (1786)Mozart confirmed this view on melody by writing the Ave Verum Corpus near theend of his short life. Originally written for chorus, strings, and organ, this work standsamong the most beautiful musical expressions of all time. Timothy Johnson has skillfullymade Mozart's wondrous achievement available to concert bands. It's perfect forworship services and the sostenuto style, with careful attention to dynamics, makesit a great choice for that 'middle' spot at festival or for the more serious moment atany performance. Given the opportunity, young bands LOVE to play truly greatmusic, and it just doesn't getmuch better than the mastery of Mozart. / Niveau : 2 / Répertoire / Concert Band

Lors du Winter Band Festival qui est organisé chaque décembre dans le parc Disneyland à Hong Kong des orchestres d?harmonie de plusieurs pays d?Asie peuvent apprécier une atmosphère internationale pendant leur performance. The Victoria Peak une marche de concert du compositeur Satoshi Yagisawa qui est populaire en Asie et au-delà fut commandée pour le festival en 2013. Ce morceau éclatant et vif est parfait pour commencer votre concert et va sans doute charmer les fans de musique à vent du monde entier !

Chaque année la ville de Yokohama célèbre une fête particulière le ?Yokohama Kaikosai? la date anniversaire de l?ouverture du port maritime qui permit le développement de la ville. L?Orchestre d?Harmonie de Yokohama (Yokohama Wind Symphony) fut spécialement créé en 2006 pour participer au Concert de Bienfaisance « Autour du Brass Band » organisé par l?Association The Brass Cruise. L?objectif de cette formation ad hoc est d?encourager et de soutenir l?activité culturelle de la population et de promouvoir la musique japonaise pour formations à vent ayant ses racines à Yokohama. Le Yokohama Wind Symphony est devenu un élément essentiel du festival. Il est constitué de plus de200 musiciens tous recrutés publiquement. En 2007 le compositeur Satoshi Yagisawa répondit favorablement à l?invitation de l?orchestre dont il fut le chef invité. À cet effet le comité de l?Association The Brass Cruise lui commanda une œuvre de circonstance. Satoshi Yagisawa composa une fanfare brillante qu?il intitula Fanfare Mi-Chi-Bi-Ki (d?après le nom d?une statue en bronze de Yokohama). L?œuvre fut donnée en création mondiale en ouverture du concert 2007. À l?instar de la statue qui l?a inspirée la fanfare exprime le désir d?un monde meilleur un monde de paix.

Cette marche est une oeuvre de commande composée spécialement par James L. Hosay pour la cérémonie d’ouverture du cinquantième anniversaire de la création de l’OTAN. Les chefs de tous les États membres de l’Alliance Nord-Atlantique étaient présents à cet événement. Selon les instructions données au compositeur, l’oeuvre devait combiner les différents styles des marches d’Amérique du Nord, d’Europe occidentale et d’Europe de l’Est. À partir de ces éléments, James L. Hosay a composé une marche de concert qui illustre l’histoire de la plus grande alliance ayant jamais existé entre des pays collaborant au sein d’une même organisation. Cet hommage rendu àl’Alliance des Pays Libres permet de célébrer lors d’un concert une part importante de l’histoire mondiale./ Accessoire / Concert Band ou Harmonie

In the most literal sense: a piece for an occasion. The actual occasion was Jan de Haan?s twentieth anniversary as a conductor of the top Dutch brass band ?Soli Deo Gloria? (Leeuwarden). To mark the occasion the band commissioned the Belgian comopser Jan Van der Roost to create a surprise piece: without knowledge of the person being celebrated a suitable source of inspiration was sought for. After some thought the chorale-theme from Camille Saint-Saëns organ symphony was chosen a piece with which Jan de Haan has a special bond.Apart from this chorale Homage is also based on the names of notes taken from ?Jan de Haan? and ?Soli Deo Gloria? resulting in the tonerow: DEGAH. Both elements are combined together and form a grand climax towards the end of the piece when the whole band unites in the Saint Saëns? theme.