SKU: BT.AMP-452-140

English-German-French-Dutch.

Song of Friendship was commissioned by the Concert Band of Jumonji University, Saitama, Japan and their conductor, Yutaka Nishida. The commission marked the 50th year of Yutaka Nishida’s involvement with bands as a player, conductor and radio presenter. The ceremonial Song of Friendship opens with an extended fanfare, largely featuring the brass section. This leads to the main theme, which develops slowly until it is played by the full band. A change of key signals a contrasting central section containing a quiet woodwind chorale, which grows until the return of the triumphant sounding main theme. Elements of the opening fanfare then close the work.

Song of Friendship werd geschreven voor het harmonieorkest van de Jumonji University in Saitama, Japan, en dirigent Yutaka Nishida. De opdracht markeerde tevens het vijftigste jaar dat Yutaka Nishida al actief was met blaasorkesten als muzikant, dirigent en radiopresentator. Song of Friendship opent met een uitgebreide fanfare waarin vooral de kopersectie aan het woord is. Dit gedeelte leidt naar het hoofdthema, dat geleidelijk verder wordt uitgewerkt tot het door het volledige orkest wordt gespeeld. Een modulatie kondigt een contrasterend middendeel aan, met een rustig koraal in het hout dat zich verder ontwikkelt tot aan de terugkeer van hettriomfantelijk klinkende hoofdthema. Het werk wordt afgesloten met elementen uit de openingsfanfare.

Song of Friendship wurde vom Blasorchester der Jumonji University in Saitama (Japan) und seinem Dirigenten Yutaka Nishida in Auftrag gegeben. Das Auftragswerk steht auch für Yutaka Nishidas über 50-jähriges Engagement im Bereich der Blasmusik als Musiker, Dirigent und Radiomoderator. Das feierliche Stück Song of Friendship beginnt mit einer ausgedehnten Fanfare, die vor allem die Blechbläser herausstellt. Diese führt zum Hauptthema, das sich langsam entwickelt, bis es schließlich vom gesamten Orchester gespielt wird. Ein Tonartwechsel leitet den gegensätzlichen Hauptteil mit einem ruhigen Choral in den Holzbläsern ein, der sich bis zur Wiederkehr destriumphierenden Hauptthemas langsam weiterentwickelt. Das Werk endet mit Elementen aus der Eröffnungsfanfare.

Song of Friendship est une commande de l’orchestre d’harmonie de l’Université de Jumonji, Saitama, Japon, et de leur chef Yutaka Nishida. La commande marque aussi la 50e année de l’engagement de Yutaka Nishida avec des bands, que ce soit comme joueur, chef d’orchestre ou présentateur radio. Le cérémonial Song of Friendship commence par une longue fanfare, mettant en scène en particulier les cuivres. Ceci nous mène au thème principal qui se développe ensuite graduellement jusqu’ une interprétation par l’ensemble entier. Une modulation signale le début de la section centrale contrastante. Elle se caractérise par un choral calme pour les bois qui se développeensuite jusqu’au retour du triomphant thème principal. Des éléments de la fanfare du début finissent alors l’œuvre.

Il celebrativo Song of Friendship si apre con un esteso tema di fanfara che presenta ampiamente la sezione degli ottoni. Questo conduce al tema principale, che si sviluppa gradualmente fino all’esecuzione da parte di tutta la banda. Un cambio di tonalit anticipa una contrastante sezione centrale che contiene un calmo corale di legni che cresce fino al ritorno trionfante del tema principale. Gli elementi musicali della fanfara d’apertura concludono l’opera.

SKU: BT.DHP-1115227-140

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

2011 was a disastrous year for Japan: on March 11 the northeast of the country suffered a violent earthquake, which triggered a huge tsunami and caused massive damage to people and the environment. The ensuing problems with the nuclear reactor at Fukushima only increased the misery: a black day in the country’s history…One almost inevitable consequence of such dramatic circumstances is the particular damage suffered by the cultural arts. And so it was in Japan: various high school wind orchestras in the effected areas lost their practice rooms and/or instruments. It will take a long time before the damage suffered is repaired—and it will take great effort to overcome thepsychological effects, too. Focusing on the latter, Yutada Nishida (director of The Bandwagon radio program) asked a few composers for a simple work that could be played by many orchestras. It just so happened that the Osakan Philharmonic Winds (with whom Jan Van der Roost had conducted a concert exclusively of his own works on September 25th) had had a similar idea. This concert saw the baptism of Song of Hope. This piece immediately struck a chord with musicians and audience alike: it begins bleakly in the low register and evolves to a more open, optimistic close. There really is hope for better times!

2011 was een rampzalig jaar voor Japan: op 11 maart teisterde een hevige aardbeving het noordoosten van het land, bracht een enorme tsunami teweeg en veroorzaakte zeer grote schade aan mens en natuur. De daaruit voortvloeiende problemenmet de kernreactor van Fukushima maakten de ellende nog groter: een zwarte pagina in het bestaan van het land ... Dat in dergelijke dramatische omstandigheden ook (en vooral) het culturele bestel een flinke knauw krijgt, ishelaas een haast onvermijdelijke consequentie. Zo ook in Japan: verschillende high school bands in de getroffen regio verloren hun repetitieruimte en/of instrumenten: het zal lang duren voordat de geleden schade is hersteld - enhet zal ook moeite kosten om er mentaal weer bovenop te geraken. Met het oog op dat laatste aspect verzocht Yutaka Nishida (samensteller van het radioprogramma The Bandwagon) een paar componisten om een eenvoudig werkje te schrijvendat speelbaar is door een groot aantal orkesten. Als bij toeval kwam een dergelijk verzoek eveneens van de kant van de OSAKAN Philharmonic Winds, waarmee Jan Van der Roost op 25 september een concert dirigeerde, uitsluitend gewijdaan eigen werken. Daar werd Song of Hope dan ook ten doop gehouden en het werkje sloeg meteen aan bij uitvoerders en publiek: na een tamelijk donkere start in het lage register evolueert het tot een optimistischer en opener slot.Er is inderdaad hoop op betere tijden!

Am 11. März 2011 löste ein heftiges Erdbeben in Japan einen riesigen Tsunami mit desaströsen Folgen für Mensch, Natur auch das kulturelle Leben. Yutaka Nishida vom Radioprogramm The Bandwagon bat daher einige Komponisten, darunter Jan Van der Roost, ein einfaches, für viele Orchester spielbares Werk zu schreiben. Song of Hope beginnt düster im tiefen Register, um sich dann zu einem optimistischeren Schluss hin zu entwickeln. Es gibt sie, die Hoffnung auf bessere Zeiten... !

2011 fut une année tragique pour le Japon : le 11 mars, le nord-est du pays connut un violent tremblement de terre qui entraîna un gigantesque tsunami, occasionnant de nombreuses pertes humaines et de gros dég ts environnementaux. La catastrophe du réacteur nucléaire de Fukushima ajouta encore ces malheurs : une période bien sombre de l’histoire du pays…Des événements aussi dramatiques ont souvent un impact négatif sur les arts culturels. Ce fut le cas au Japon : plusieurs orchestres d’harmonie des collèges des régions affectées perdirent leurs locaux de répétition et/ou leurs instruments. Il faudra beaucoup de temps pour que les choses reviennent la normale - et pour estomperles cicatrices psychologiques. S’intéressant particulièrement celles-ci, Yutada Nishida (directeur du programme radiophonique The Bandwagon) demanda quelques compositeurs d’écrire une œuvre simple pouvant être interprétée par de nombreux orchestres.Il se trouva que l’Harmonie Philharmonique d’Osaka (que Jan Van der Roost avait dirigée lors d’un concert exclusivement composé de ses œuvres, le 25 septembre) avait eu la même idée. Ce concert vit la création mondiale de Song of Hope, qui interpella immédiatement les musiciens et l’auditoire. Cette pièce débute sombrement dans le registre grave avant d’évoluer vers une conclusion plus pétillante, plus optimiste. Il est assurément permis d’espérer des temps meilleurs !

Il 2011 è stato un anno tragico per il Giappone; al devastante terremoto e al non meno catastrofico tsunami dell’11 marzo, sono seguiti i gravi problemi al reattore nucleare di Fukushima. Il settore della cultura in generale, e quello della musica in particolare hanno sofferto immensamente a causa di questi nefasti eventi naturali. Song of Hope è un brano che ha profondamente commosso esecutori e pubblico.Song of Hope inizia nel registro acuto con suoni oscuri e melanconici, ma si sviluppa in un clima di ottimismo, come a voler simboleggiare un futuro più sereno.

SKU: CF.CPS219F

ISBN 9781491153130. UPC: 680160910632.

Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8” space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^” accent on the final note is one meant to be played heavy, and not short.

SKU: BT.DHP-1125254-010

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

“Isn’t she lovely” sang Stevie Wonder in 1976 on the birth of his daughter Aisha. Since the song never appeared as a single it became known chiefly through radio airplay and continues to be a much-loved tune throughout the world. Hideaki Miura’s fabulous arrangement for concert band is sure to win the heart of your audience!

“Is ze niet schattig?” zong Stevie Wonder in 1976 over zijn dochtertje Aisha. De song verscheen nooit op single en werd vooral bekend van de radio. Door de jaren heen bleef het een geliefde én bekende melodie. Want wie herkent nietde klanken van de mondharmonica, zo typisch voor Stevie Wonder, maar zeker ook voor dit melodietje? Hideaki Miura maakte er een geslaagde bewerking van voor blaasorkest.

Ist sie nicht entzückend“ sang Stevie Wonder 1976 anlässlich der Geburt seiner Tochter Aisha. Da der Song nie als Single erschien, wurde er vor allem über das Radio bekannt und blieb über die Jahre hinweg in den Ohren und Herzen der Menschen auf der ganzen Welt lebendig. Entzücken Sie Ihr Publikum mit der gelungenen Blasorchesterbearbeitung von Hideaki Miura!

Isn’t She Lovely (N’est-elle pas magnifique) est une chanson écrite par Stevie Wonder, en 1976, la naissance de sa fille Aisha. Connu de tous, cet air inoubliable résonnera aux oreilles et dans le coeur de votre auditoire gr ce au formidable arrangement pour orchestre d’harmonie de Hideaki Miura !

“Non è splendida….” cantava Stevie Wonder nel 1976 dopo la nascita della figlia Aisha. Una meravigliosa ballata romantica, dai testi commoventi che i non giovanissimi ricordano aver ascoltato innumerevoli volte alla radio. Incantate il pubblico con questo arrangiamento molto riuscito firmato Hideaki Miura!

SKU: BT.DHP-1063975-140

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

According to music critic Mark Azarra, Leroy Anderson (1908-1975) was “one of the four best composers of instrumental music in the 20th century, next to George Gershwin, Aaron Copland and Charles Ives”. Many of his nostalgic songs such as Sleigh Ride and Blue Tango are firmly embedded in the American popular music culture. In 1945 at the request of Roger Voisin, the principal trumpeter of the Boston Pops Orchestra, Anderson wrote the Trumpeter’s Lullaby. This version for concert band by will be a sure winner.

Volgens muziekcriticus Mark Azarra was Leroy Anderson (1908-1975) “een van de vier beste componisten van instrumentale muziek in de twintigste eeuw, naast George Gershwin, Aaron Copland en Charles Ives”. Nostalgische songs van zijnhand, zoals als Sleigh Ride en Blue Tango, zijn stevig ingebed in de Amerikaanse lichtemuziekcultuur. Op verzoek van Roger Voisin, destijds eerste trompettist van het Boston Pops Orchestra, schreef Anderson in 1945het luchtige stuk Trumpeter’s Lullaby.

Trumpeter's Lullaby gehört seit seinem Entstehungsjahr 1950 zum unterhaltsamen Standardrepertoire vieler Trompetensolisten. Leroy Anderson komponierte den Titel auf Anregung von Roger Voisin, dem ersten Trompeter des Boston Symphony Orchestras. Dieser wünschte sich ein Solo, das sich vom lauten, triumphalen Klang der meisten Trompetensoli unterschieden sollte. So entstand die Idee zu diesem Wiegenlied, das nun in einer Bearbeitung für Trompete und Blasorchester vorliegt.

Notre époque a bien oublié celle des musiques légères qui firent l'enchantement des auditeurs de radio peu après la Seconde Guerre mondiale. Parmi elles, celles du compositeur américain Leroy Anderson (1908-1975). Descriptives et souvent étonnantes, ces oeuvres ont conservé la fraîcheur et le charme d’antan. Trumpeter’s Lullaby est une oeuvre aérienne et douce où la trompette se veut tendre et éthérée. L’accompagnement tisse un toile sonore soyeuse. Magique.

Ai nostri giorni, la musica leggera che nel primo dopoguerra fece la gioia di tanti radioascoltatori, sta cadendo nell’oblio. Tra i molti brani, spiccava la musica del compositore americano Leroy Anderson (1908-1975). Descrittive e spesso sorprendenti, le sue musiche hanno conservato la freschezza e lo charme di allora. Trumpeter’s Lullaby è un brano dolce dove la tromba vuole essere tenera ed eterea. Un brano magico anche grazie all’accompagnamento.

SKU: BT.AMP-470-010

English-German-French-Dutch.

Salutation was commissioned by Japanese conductor and broadcaster, Yutaka Nishida, a dear friend of the composer Philip Sparke. Salutation follows fairly conventional march form. A short fanfare introduces the main theme, played by clarinets and saxophones. A bridge passage, mainly in the brass, heralds a change of key and a legato second subject, again played initially by the clarinets, which leads to the conventional trio theme, which is then repeated by the full band. Sections of the second subject lead back to the home key and a return of the main theme, embellished with woodwinds.

Salutation is geschreven in opdracht van de Japanse dirigent en radiopresentator Yutaka Nishida, een goede vriend van Philip Sparke. Het werk volgt een vrij conventionele marsvorm: een korte fanfare introduceert het hoofdthema, gespeeld door de klarinetten en saxofoons. Een bridgepassage, voornamelijk door het koper gespeeld, kondigt een modulatie en een legato gedeelte aan, aanvankelijk door de klarinetten gebracht en uitmondend in het conventionele triothema, dat daarna door het hele orkest wordt herhaald. Stukjes uit het legato gedeelte brengen ons terug naar de oorspronkelijke toonsoort en het hoofdthema, dat wordt versierd met motieven in het hout. Dan volgtnog een korte coda in het koper.

Salutation wurde von dem japanischen Dirigenten und Moderator Yutaka Nishida in Auftrag gegeben, der ein guter Freund des Komponisten Philip Sparke ist. Salutation folgt weitgehend der traditionellen Marschform. Eine kurze Fanfare leitet das Hauptthema ein, das von den Klarinetten und Saxophonen gespielt wird. Eine Überleitung, die in erster Linie von den Blechbläsern gespielt wird, kündigt einen Tonartwechsel sowie ein zweites Thema im Legato an, das anfangs wieder von den Klarinetten gespielt wird und zum traditionellen Trio führt, welches dann vom gesamten Orchester wiederholt wird. Teile des zweiten Themas führen in die Ausgangstonart zurück und das Hauptthema, dasvon den Holzbläsern verziert wird, kehrt wieder.

Salutation est une commande du chef d'orchestre et animateur radio japonais Yutaka Nishida, un ami du compositeur Philip Sparke. L’œuvre suit la forme assez conventionnelle de la marche : une courte fanfare introduit le thème principal, joué par les clarinettes et les saxophones. Un bref pont, principalement interprété par les cuivres, annonce un changement de tonalité et un second thème legato, joué encore une fois premièrement par les clarinettes, conduit au thème traditionnel du trio, qui est ensuite repris par l'orchestre complet. Des sections du deuxième thème ramènent la pièce sa tonalité d'origine et au thème principal, agrémenté cette fois par les bois.

SKU: AP.50059

ISBN 9781470663711. UPC: 038081580753. English.

Perfect for your spring concert, Miley Cyrus's massive number-one hit on the Billboard Hot 100, Flowers, arranged by Patrick Roszell, comes to your concert band. This arrangement would be great with your middle or high school band. (2:30).

SKU: AP.50059S

ISBN 9781470663735. UPC: 038081580760. English.

Perfect for your spring concert, Miley Cyrus's massive number-one hit on the Billboard Hot 100 Flowers, arranged by Patrick Roszell, comes to your concert band. (2:30).

SKU: HL.49016217

ISBN 9790001113243.

This piece and is characterized by rhythmically terse motifs in contrast to tonally delicate sections. The composer's distinctive language, rich in dissonances, is combined through precise formal sequences in a varied, sparkling style. It is an ideal piece for competitions at an advanced level and it is also fine concert music. Veit Erdmann-Abele mainly works as an editor for Suddeutsche Rundfunk [South German Radio] in Stuttgart. He is also active as a composer.

(1 Piccolo-Flote, 2 Floten, 1 Oboe, 1 Fagott, 1 Klarinette in Es, 3 Klarinetten in B, 1 Alt-Klarinette in Es ad lib., 1 Bass-Klarinette in B, 2 Alt-Saxophne in Es, 1 Tenor-Saxophon in B, 1 Bariton-Saxophon in Es, 4 Horner in F, 3 Trompeten in B, 3 Posaunen, 2 Flugelhorner (Kornette) in B, 1 Tenorhorn in B, 1 Bariton, 2 Tuben, Schlagzeug: Glockenspiel, kleine Trommel, Ruhrtrommel, grosse Trommel, Tamburin, Triangel, Becken).