SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: BT.GOB-000508-140
The Odyssee tells the story of Odysseus, the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The Odyssey follows the Iliad, the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic, but a story about perseverance, loyalty, adventure, and the survival instinct of its ingenious hero. In The Odyssey, Homer describes howOdysseus, the king of Ithaca, had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years, his wife, Penelope, had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth, she played a trick: As soon as I have finished weaving this shroud for my father-in-law, Laertes, I will choose one of you to become my husband, she promisedthem. But during the night, she secretly loosened what she had woven during the day, prolonging the time until Odysseus would finally return. After twenty long years, when he finally stood at the door, she wondered: Is this really my husband? Ishe an imposter? Cunningly, she asked him to move the bed, because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife, his Penelope! Nearly threethousands years later, the loyalty and strength of this character, and all the dangerous adventures that Odysseus survived thanks to courage and intelligence, still moves us today. Odyssee by Jan Bosveld is not just an adventure story, butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm, stirring theme describing our hero, Odysseus, in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy, perseverant, and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife, as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn, plaintive part that follows, we can imagine Penelope feeling lonely, sitting in the womens room with her servants.One of the girls plays the harp, but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe, who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes, he forces Circe to lift the spell. The piece ends the same way as it began, with an animated theme: Odysseus is still the same, undefeated and not to be taken lighty!Het muzikale relaas van de Griekse schrijver Homerus over de held Odyssee in een karakterstuk vol herinneringen. Een stevig opgewekt thema symboliseert de grootsheid van Odyssee en zijn karaktertrekken - betrouwbaar, volhardenden vernuftig. De tegenslagen welke hij tegenkomt en in het tweede tragische gedeelte dreigen te escaleren, nemen in het derde snelle gedeelte bij zijn verschijning toch weer een positieve wending. Nijmegenaar Jan Bosveld bewijstin dit originele werk dat hij op de hoogte is van de onmogelijkheden, maar vooral de ongekende mogelijkheden van muzikanten uit de lagere afdelingen.
SKU: BT.GOB-000508-010
SKU: BT.DHP-1216342-140
English-German-French-Dutch.
Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity’s best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remainsa mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises theRoman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra’s femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love thatMark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third andlast section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of thejealousy and ambition of Octavius, Julius Caesar’s son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his ownlife. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History’s most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directedby Philippe Rossignol, to mark its 90th anniversary.Koningin Cleopatra heerste meer dan twintig jaar lang over Egypte. Ze is een van de bekendste vrouwen uit de oudheid, vanwege haar relatie met Julius Caesar en vooral die met Marcus Antonius, maar ook omdat de oorzaak van haardood altijd een mysterie is gebleven. Dit werk bestaat uit drie in elkaar overlopende delen. Het eerste deel begint met de levendige introductie van Marcus Antonius. Met het dynamische en enigszins militaire karakter van de muziekwordt de Romeinse generaal krachtig neergezet. Snel daarna doemt een zachter en melodieuzer thema op een weerspiegeling van Cleopatra’s vrouwelijkheid. De twee persoonlijkheden gaan vervolgens samen verder in een vlotter tempo.Het middelste deel beschrijft de liefde die Marcus Antonius en Cleopatra voor elkaar voelden. Hun hartstochtelijke relatie duurde tien jaar en bracht drie kinderen voort. Dit wordt uitgedrukt in een warm en intens thema waarintevens de schoonheid van de Egyptische koningin doorschemert. Het derde en laatste deel opent vastberaden en in militaire sfeer. Marcus Antonius en Cleopatra waren vaak bij elkaar vandaan: de generaal was geregeld weg om strijd tevoeren. In Alexandrië vierden ze samen hun triomf, maar de jaloezie en ambitie van Octavius, de zoon van Julius Caesar, gooide roet in het eten. De geliefden werden in de val gelokt en de onvermijdelijke verovering van Egypte doorde Romeinen volgde al snel. Toen Marcus Antonius het onjuiste bericht kreeg dat Cleopatra zelfmoord had gepleegd, maakte hij een eind aan zijn eigen leven: de koningin van Egypte werd op haar beurt kort daarna gevangengezet. Detwee geliefden behoren tot de beroemdste stellen uit de wereldgeschiedenis. Cleopatra werd in opdracht geschreven om het negentigjarig bestaan van het blaasorkest uit de gemeente Antony dicht bij Parijs te markeren. Dat orkestbracht het onder leiding van Philippe Rossignol in première.Königin Kleopatra regierte über 20 Jahre lang Ägypten. Sie ist eine der bekanntesten Frauen der Antike, insbesondere aufgrund ihrer Beziehungen zu Julius Cäsar und vor allem zu Marcus Antonius aber auch aufgrund ihrerrätselhaften Todesursache. Das Werk besteht aus drei Abschnitten, die ohne Unterbrechung gespielt werden. Der erste Abschnitt beginnt mit einer strahlenden Einleitung, die Marcus Antonius darstellt. Die martialische und dynamischeMusik beschreibt den römischen Feldherrn. Doch bald darauf erklingt ein neues Thema, das sanfter und melodischer ist und Kleopatras Weiblichkeit symbolisiert. Die beiden Charaktere verschmelzen schließlich in einem schnellerenTempo. Der Mittelteil des Werkes beschreibt die Liebe, die Marcus Antonius und Kleopatra füreinander empfinden. Die leidenschaftliche Beziehung der beiden dauerte zehn Jahre lang und aus ihr gingen drei Kinder hervor. Dafür stehtein warmes und intensives Thema, das auch die Schönheit der ägyptischen Königin beschreibt. Der dritte und letzte Abschnitt beginnt mit einer entschlossenen und kriegerischen Stimmung. Marcus Antonius und Kleopatra waren oftmalsgetrennt, wenn sich der römische Feldherr auf Feldzügen befand. In Alexandria trafen sie sich, um ihren Sieg zu feiern. Doch sie waren Opfer der Eifersucht und der ehrgeizigen Ambitionen von Octavius, Julius Cäsars Sohn, wurden ineine Falle gelockt und mussten auf die bevorstehende Eroberung Ägyptens durch die Römer warten. Als Marcus Antonius die Nachricht vom vermeintlichen Selbstmord Kleopatras erhielt, nahm er sich selbst das Leben. Die Königin vonÄgypten wurde ihrerseits kurz darauf inhaftiert. Die beiden zählen zu den berühmtesten Liebespaaren der Geschichte. Dieses Stück wurde vom Orchestre d’Harmonie de la Ville d’Antony aus der Nähe von Paris, das von PhilippeRossignol geleitet wird, anlässlich seines 90-jährigen Jubiläums in Auftrag gegeben.La Reine Cléop tre règne sur l’Égypte pendant plus de 20 ans. Elle est l’une des femmes les plus connues de l’Antiquité, notamment gr ce ses relations avec Jules César et surtout avec Marc-Antoine (Antony), mais aussi par lemystère qu’entoure sa disparition. L’œuvre est écrite en trois parties enchaînées. La première commence par une brillante introduction qui représente Marc-Antoine. A la fois martiale et dynamique, cette musique caractérise legénéral romain. Mais très vite, un nouveau thème apparaît, plus mélodique et plus doux, il symbolise la féminité que représente Cléop tre. Les deux caractères vont ensuite s’assembler dans un tempo plus rapide. La partie centralede l’œuvre dépeint l’amour que Marc-Antoine et Cléop tre ressentent l’un pour l’autre. Cette relation passionnée durera 10 ans et donnera naissance 3 enfants. Il en résulte un thème chaleureux et intense, l’image de la beautéde la reine d’Égypte. Enfin, c’est sur un caractère décidé et guerrier que la troisième partie débute. Marc-Antoine et Cléop tre sont souvent séparés, le général romain est souvent en campagne. Ils se retrouvent Alexandrie pourfêter leur triomphe. Mais, victimes de la jalousie et de l’ambition terrifiante d’Octave, fils de Jules César, les amants sont piégés et attendent inexorablement que l’Égypte soit conquise par les Romains. A la fausse annonce dusuicide de Cléop tre, Marc-Antoine met fin ses jours. La Reine d’Egypte sera quant elle emprisonnée peu de temps après. Les deux amants resteront l’un des couples les plus célèbres de l’Histoire. L’œuvre a été commandée parl’Orchestre d’Harmonie de la ville d’Antony l’occasion de ses 90 ans : l’orchestre est placé sous la direction de Philippe Rossignol.
SKU: BT.DHP-1216342-010
SKU: BT.AMP-494-140
March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held inCamposilvano in 2019) which has a different theme every year. The theme for 2019 was ‘science fiction’, so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromaticfigures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change ofkey introduces a legato ‘trio’ melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting thefirst two themes in new guises before finishing the march with a flourish.March of the Robot Army werd geschreven in opdracht van Linda Anzolin & Giordano-Bruno Tedeschi voor Campobanda 2019: de financiering werd mogelijk gemaakt door JUST ITALIA. Campobanda is een Italiaans zomermuziekkamp vooracht- tot achttienjarigen (dat in 2019 werd gehouden in Camposilvano) met elk jaar een ander thema. Het thema voor 2019 was sciencefiction, dus besloot componist Philip Sparke een robotmars te schrijven. Na een grilligeinleiding met trompetsignalen en chromatische motieven verschijnt het hoofdthema in mineur op klarinet en tenorsax, waarna het door het hele orkest wordt overgenomen. Een verandering van toonsoort kondigt een nieuw thema aan, weeringeleid door de trompet en herhaald door het volledige ensemble. Een verdere toonsoortverandering introduceert een legato ‘triomelodie’ boven een nogal robotachtige begeleiding: er worden stapsgewijs instrumenten toegevoegd totde muziek uitmondt in een hoogtepunt. Korte figuren uit de inleiding nemen ons dan mee naar een volledige herneming, met een terugkeer naar de eerste twee thema’s in een nieuwe gedaante, waarna de mars in stijl wordt afgesloten.Der March of the Robot Army wurde von Linda Anzolin und Giordano-Bruno Tedeschi für Campobanda 2019“ in Auftrag gegeben und finanziell von JUST ITALIA unterstützt. Das italienische Sommermusikcamp Campobanda für 8- bis18-Jährige fand 2019 in Camposilvano statt und hat jedes Jahr ein anderes Motto. 2019 lautete das Thema Science Fiction“, daher entschied sich der Komponist Philip Sparke dazu, einen Robotermarsch zu schreiben. Nach einerskurrilen Einleitung mit Trompetenrufen und chromatischen Figuren erklingt in Klarinetten und Tenorsaxophonen das Hauptthema in Moll, das dann vom gesamten Orchester aufgegriffen werd. Ein Tonartwechsel kündigt ein neues Thema an,das von der Trompete vorgestellt und anschließend vom gesamten Ensemble wiederholt wird. Ein weiterer Tonartwechsel führt zu einem melodischen, legato gespielten Trio-Abschnitt über einer roboterhaften Begleitung. Nach und nachkommen weitere Instrumente hinzu, bis der Höhepunkt erreicht ist. Kleine Motive aus der Einleitung führen dann zu einer Reprise, wobei die ersten beiden Themen in neuer Gestalt wieder aufgegriffen werden, bevor der Marsch zum Endehin noch einmal musikalisch aufblüht.March of the Robot Army est une commande de Linda Anzolin et Giordano-Bruno Tedeschi pour Campobanda 2019, gr ce des fonds mis disposition par JUST ITALIA. Destinée aux jeunes de 8 18 ans, Campobanda est une école demusique d’été dont le thème change chaque année. Celui de l’édition 2019 étant « sciencefiction », Philip Sparke décida d’écrire une marche pour robots. Après une introduction insolite rassemblant appels de trompette et figureschromatiques, le premier thème apparaît dans un mode mineur la clarinette et au saxophone ténor avant d’être repris par l’orchestre entier. Un changement de tonalité annonce un nouveau thème, mené par la trompette et repris,encore une fois, par l’orchestre entier. Un autre changement de tonalité introduit une mélodie legato « en trio » sur un accompagnement quelque peu robotique : divers instruments s’y ajoutent progressivement pour aboutir unclimax. Des petits motifs tirés de l’introduction mènent une récapitulation complète qui reprend les deux premiers thèmes sous des formes différentes, avant de conclure la marche avec un bouquet final.
SKU: BT.AMP-494-010
SKU: ML.013780090
The Spanish war galleon with 64 cannons, built in Cuba between 1770 and 1771 for an English shipowner in the service of the King of Spain left Peru for Cadiz in 1784 with a huge cargo of copper, gold, silver and other valuables on board. There were also more than 400 people on board, including passengers, crew and Inca prisoners after a revolt. The Atlantic crossing went smoothly, passing Portugal to take advantage of favourable winds. The shipwreck off Peniche was the result of human error, apparently due to French maps with dramatic errors in the position of the islands of Berlengas and neighbouring islets. On 2 February 1786, the sea was calm and the night clear, but they hit the rock formation Papoa and the hull immediately broke in two. The bottom sank quickly, while the deck remained afloat for some time. 128 people lost their lives, including many Indians who were trapped in the basement. This shipwreck is considered one of the most important in maritime history.What the composer wants to convey, and what can be felt as one listens, is first of all the sound of power, of hope, of the glory of conquest, of the splendour of wealth. This is followed by the perception of the maritime environment, the harmony with the softness of the ocean, the gliding of the hull in the foam of the sea on sunny, blue days. But along with this tranquillity, you soon hear a rhythmic chain that makes you feel a representation of the hustle and bustle, of the busy crew, of the hard work of a sailor, of the desperation of an exotic people imprisoned in a dark, damp cellar. A distinct rhythm that reminds us of the salero of Andalusia, with its Arab influences and its people, the soothing of the resignation of others who are forced to submit. Then we clearly hear a crescendo that makes us imagine the agony of the collision that precedes the shipwreck. The breaking of the hull, the water flooding everything, the despair, the clash of bodies on the rocks, the tragedy to come. Before the grand finale, in which the return of musical softness reminds us that the story is over. The supremacy of nature over human greed. The waves, though gentle, sweep the wreckage, the lives and the treasures of the New World to the bottom of the sea.Het Spaans oorlogsgaljoen met 64 kanonnen, gebouwd in Cuba tussen 1770 en 1771 voor een Engelse reder in dienst van de koning van Spanje vertrok in 1784 vanuit Peru naar Cádiz met een enorme lading koper, goud, zilver en andere kostbaarheden aan boord. Er waren ook meer dan 400 mensen aan boord, waaronder passagiers, bemanning en Inca gevangenen na een opstand. De oversteek van de Atlantische Oceaan verliep vlot, waarbij Portugal werd gepasseerd om te profiteren van gunstige winden. De schipbreuk bij Peniche was het resultaat van een menselijke fout, blijkbaar te wijten aan Franse kaarten met dramatische fouten in de positie van de eilanden Berlengas en naburige eilandjes. Op 2 februari 1786 was de zee kalm en de nacht helder, maar ze raakten de rotsformatie Papoa en de romp brak onmiddellijk in tweeën. De bodem zonk snel, terwijl het dek nog enige tijd bleef drijven. 128 mensen verloren het leven, waaronder veel indianen die vastzaten in de kelder. Dit scheepswrak wordt beschouwd als een van de belangrijkste in de maritieme geschiedenis.Wat de componist wil overbrengen, en wat men kan voelen als men luistert, is allereerst het geluid van macht, van hoop, van de glorie van verovering, van de pracht van rijkdom. Dit wordt gevolgd door de perceptie van de maritieme omgeving, de harmonie met de zachtheid van de oceaan, het glijden van de romp in het schuim van de zee op zonnige, blauwe dagen. Maar samen met deze rust hoor je al snel een ritmische ketting die je een voorstelling geeft van de drukte, van de drukke bemanning, van het harde werk van een zeeman, van de wanhoop van een exotisch volk dat gevangen zit in een donkere, vochtige kelder. Een duidelijk ritme dat ons doet denken aan de salero van Andalusië, met zijn Arabische invloeden en zijn mensen, het sussen van de berusting van anderen die gedwongen worden zich te onderwerpen. Dan horen we duidelijk een crescendo dat ons de lijdensweg doet voorstellen van de aanvaring die voorafgaat aan de schipbreuk. Het breken van de romp, het water dat alles overspoelt, de wanhoop, het botsen van lichamen op de rotsen, de tragedie die komen gaat. Vóór de grote finale, waarin de terugkeer van de muzikale zachtheid ons eraan herinnert dat het verhaal voorbij is. De overmacht van de natuur over de hebzucht van de mens. De golven, hoewel zacht, vegen het wrak, de levens en de schatten van de Nieuwe Wereld naar de bodem van de zee.Le galion de guerre espagnol de 64 canons, construit à Cuba entre 1770 et 1771 pour un armateur anglais au service du roi d'Espagne, a quitté le Pérou pour Cadix en 1784 avec à son bord une énorme cargaison de cuivre, d'or, d'argent et d'autres objets de valeur. Il y avait également plus de 400 personnes à bord, dont des passagers, des membres d'équipage et des prisonniers incas à la suite d'une révolte. La traversée de l'Atlantique s'est déroulée sans encombre, en passant par le Portugal pour profiter des vents favorables. Le naufrage au large de Peniche est le résultat d'une erreur humaine, apparemment due à des cartes françaises comportant des erreurs dramatiques dans la position des îles de Berlengas et des îlots voisins. Le 2 février 1786, alors que la mer est calme et la nuit claire, le navire heurte la formation rocheuse de Papoa et la coque se brise immédiatement en deux. Le fond coule rapidement, tandis que le pont reste à flot pendant un certain temps. 128 personnes ont perdu la vie, dont de nombreux Indiens qui étaient coincés dans les sous-sols. Ce naufrage est considéré comme l'un des plus importants de l'histoire maritime.Ce que le compositeur veut transmettre, et ce que l'on ressent à l'écoute, c'est d'abord le son de la puissance, de l'espoir, de la gloire de la conquête, de la splendeur de la richesse. C'est ensuite la perception de l'environnement maritime, l'harmonie avec la douceur de l'océan, le glissement de la coque dans l'écume de la mer par des journées bleues et ensoleillées. Mais à côté de cette tranquillité, on entend bientôt une chaîne rythmique qui nous fait ressentir une représentation de l'agitation, de l'équipage affairé, du dur labeur d'un marin, du désespoir d'un peuple exotique emprisonné dans une cave sombre et humide. Un rythme distinct qui nous rappelle le salero d'Andalousie, avec ses influences arabes et son peuple, l'apaisement de la résignation des autres qui sont obligés de se soumettre. Puis on entend clairement un crescendo qui nous fait imaginer l'agonie de la collision qui précède le naufrage. La rupture de la coque, l'eau qui envahit tout, le désespoir, le choc des corps sur les rochers, la tragédie à venir. Avant le grand final, où le retour de la douceur musicale nous rappelle que l'histoire est terminée. La suprématie de la nature sur la cupidité humaine. Les vagues, bien que douces, emportent les épaves, les vies et les trésors du Nouveau Monde au fond de la mer.Die spanische Kriegsgaleone mit 64 Kanonen, die zwischen 1770 und 1771 auf Kuba für einen englischen Reeder im Dienste des spanischen Königs gebaut wurde, verließ Peru 1784 in Richtung Cádiz mit einer riesigen Ladung Kupfer, Gold, Silber und anderen Wertgegenständen an Bord. An Bord befanden sich auch mehr als 400 Menschen, darunter Passagiere, Besatzungsmitglieder und Inka-Gefangene nach einem Aufstand. Die Atlantiküberquerung verlief reibungslos, wobei Portugal passiert wurde, um die günstigen Winde zu nutzen. Der Schiffbruch vor Peniche war das Ergebnis menschlichen Versagens, das offenbar auf französische Karten zurückzuführen war, die in Bezug auf die Position der Inseln Berlengas und der benachbarten Eilande dramatische Fehler enthielten. Am 2. Februar 1786 stießen sie bei ruhiger See und klarer Nacht auf die Felsformation Papoa und der Rumpf brach sofort entzwei. Der Boden sank schnell, während das Deck noch einige Zeit über Wasser blieb. 128 Menschen kamen ums Leben, darunter viele Indianer, die im Keller eingeschlossen waren. Dieses Schiffswrack gilt als eines der bedeutendsten Was der Komponist vermitteln will und was man beim Zuhören spürt, ist zunächst der Klang der Macht, der Hoffnung, des Ruhms der Eroberung, des Glanzes des Reichtums. Es folgt die Wahrnehmung der maritimen Umgebung, die Harmonie mit der Sanftheit des Meeres, das Gleiten des Schiffsrumpfes im Schaum des Meeres an sonnigen, blauen Tagen. Doch neben dieser Ruhe hört man bald eine rhythmische Kette, die die Hektik, die geschäftige Mannschaft, die harte Arbeit eines Seemanns, die Verzweiflung eines exotischen Volkes, das in einem dunklen, feuchten Keller gefangen ist, wiedergibt. Ein ausgeprägter Rhythmus, der an den Salero Andalusiens erinnert, mit seinen arabischen Einflüssen und seinen Menschen, der die Resignation der anderen besänftigt, die gezwungen sind, sich zu fügen. Dann hören wir deutlich ein Crescendo, das uns die Qualen des Zusammenstoßes, der dem Schiffbruch vorausgeht, erahnen lässt. Das Zerbrechen des Rumpfes, das Wasser, das alles überflutet, die Verzweiflung, das Aufeinanderprallen der Körper auf den Felsen, die bevorstehende Tragödie. Vor dem großen Finale, in dem die Rückkehr der musikalischen Sanftheit uns daran erinnert, dass die Geschichte zu Ende ist. Die Vorherrschaft der Natur über die menschliche Gier. Die Wellen, so sanft sie auch sein mögen, spülen die Trümmer, das Leben und die Schätze der Neuen Welt auf den Grund des Meeres.
SKU: CF.CPS219
ISBN 9781491152454. UPC: 680160909957.
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: CF.CPS219F
ISBN 9781491153130. UPC: 680160910632.
SKU: CN.S11042
This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.
SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: PR.46500013L
UPC: 680160600151. 11 x 14 inches.
I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: BT.DHP-1043551-140
The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,†which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.†In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.†His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,†and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,†they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.†Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252.
SKU: BT.DHP-1196181-140
Cittaslow is an international network of more than 220 towns in 30 countries. Its members are towns where people are still finding themselves reminiscing over the old times; towns that are rich in theatres, squares, cafés, restaurants and spiritual places; towns with untouched landscapes and charming craftsman where people are still able to recognize the slow course of the seasons, and respect their authentic products, true taste as well as their health. The Hymn of Cittaslow, which was commissioned by the organisation itself, is entirely inspired by their commitment to the preservation of the member towns. The tempo is naturally ‘slow', and the themes somehow soundfamiliar. On the one hand, the music emanates peace and quiet, but it also sounds grand in its lyricism, thereby reflecting the beauty of the Cittaslow towns. Cittaslow is een internationaal netwerk van meer dan 220 gemeenten verspreid over 30 landen. De aangesloten plaatsen zijn gemeenten waar mensen nieuwsgierig zijn naar vroeger, waar een rijke schakering aan theaters, pleinen, cafés, restaurants en spirituele plekken te vinden is, met een ongerept landschap en innemende ambachtslieden, waar mensen de langzame tred van de seizoenen nog herkennen en hun authentieke producten, ware smaak en gezondheid eerbiedigen. De Hymn of Cittaslow, in opdracht van deze organisatie gecomponeerd, is helemaal ge nspireerd op deze gedachte. Het tempo is uiteraard 'slow' en de thema's zijn herkenbaar. De muziek ademt enerzijds rust, maarklinkt ook groots in haar lyriek, die de schoonheid van de Cittaslow-gemeenten weerspiegelt. Cittaslow ist ein internationales Netzwerk, dem mehr als 220 Städte in 30 Ländern angehören. Zu den Mitgliedern gehören Städte, in denen die Vergangenheit noch sehr lebendig und spürbar ist: Städte, die reich an Theatern, Plätzen, Cafés, Restaurants und spirituellen Orten sind. Städte mit unberührten Landschaften und bezauberndem Handwerk, wo man immer noch den langsamen Lauf der Jahreszeiten wahrnehmen sowie authentische und gesunde Produkte mit ihrem ursprünglichen Geschmack genießen kann. Die Hymn of Cittaslow wurde von der Organisation selbst in Auftrag gegeben und ist ganz von dem Engagement ihrer Mitgliedsstädte inspiriert, die sich dafür einsetzen, dieVergangenheit zu bewahren. Das Tempo ist natürlich langsam“ und die Themen klingen irgendwie vertraut. Einerseits strahlt die Musik Ruhe und Frieden aus, andererseits klingt sie großartig lyrisch und spiegelt damit die Schönheit der Cittaslow-Städte wider. Cittaslow est un réseau international de plus de 220 villes dans 30 pays. Ses membres sont des villes dont les habitants se souviennent encore de l’ancien temps ; des villes qui jouissent de nombreux thé tres, cafés, restaurants, esplanades et lieux spirituels ; des villes offrant des environnements intacts et des magasins d’artisanat attrayants, des villes où les gens sont encore conscients du lent changement des saisons et respectent des produits authentiques, des saveurs traditionnelles et l’importance d’une bonne santé. Commande de cette organisation, Hymn de Cittaslow s’inspire entièrement de son engagement préserver ses villes membres. Le tempo de cettepièce est lent et les thèmes ont un petit air familier. La musique dégage une sensation de paix et de tranquillité, mais son lyrisme lui confère un caractère grandiose qui reflète la beauté des villes de Cittaslow.
SKU: BT.DHP-1196181-010
SKU: CF.SPS75
ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major.
When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others .
SKU: HL.4007945
Stories, sagas and legends--who among us doesn't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the “Soup-Kasper†of Hoffmann's Struwwelpeter dies from starvation rather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless.In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scorn and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems--rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in colorful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rats and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognize this man's skills and knowledge and were only prepared to pay for simple labour. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town's children were so enchanted by his playing that they followed him. He led them out of the town and disappeared with them forever into a mountain. Of all the children, only two survived--however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event.
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: BT.AMP-481-010
Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.Guardians of the Waves werd geschreven in opdracht van de Japan Coast Guard Band ter gelegenheid van het dertigjarig bestaan van dit orkest, in 2018. De première vond plaats tijdens het jubileumconcert op 8 november van datjaar. Het werk, dat is gecomponeerd in een traditionele marsvorm, begint met een korte introductie die het hoofdthema inleidt, dat aanvankelijk wordt gespeeld door het koper en dan wordt herhaald met een weelderige discant in hethout. Het thema wordt voortgezet en gaat over in een tweede thema, eerst tutti gespeeld en rustig herhaald door fagot, tenorsax en eufonium. Dit thema voert ons mee naar een conventionele baslijn, die twee keer wordt gespeeld metvariërende begeleiding. Daarna volgt een kalmer triogedeelte, dat delicaat is getoonzet en waarin de tenorinstrumenten van het orkest ruimschoots aan bod komen. Het wordt dan overgenomen door het complete orkest en brengt onsterug naar de inleiding en de twee hoofdthema’s, uitmondend in een triomfantelijk slot.Guardians of the Waves wurde von der Japan Coast Guard Band anlässlich ihres 30-jährigen Bestehens im Jahr 2018 in Auftrag gegeben. Die Uraufführung fand am 8. November 2018 im Rahmen eines Jubiläumskonzertes statt.Guardians of the Waves wurde als traditioneller Marsch komponiert und beginnt mit einer kurzen Einleitung, die zum Hauptthema führt. Dieses wird zunächst von den Blechbläsern gespielt und dann von den Oberstimmen in denHolzbläsern mit Verzierungen wiederholt. Das Thema wird erweitert und geht in ein zweites Thema über, das zunächst vom Tutti gespielt und dann von Fagott, Tenorsaxophon und Euphonium leise wiederholt wird. Anschließend erklingteine traditionelle Melodie in den Bassinstrumenten, die mit unterschiedlicher Begleitung zweimal gespielt wird. Es folgt ein ruhigeres Trio, das zart besetzt ist und die Tenorinstrumente des Blasorchesters hervorhebt. Dies wirdschließlich vom gesamten Blasorchester aufgegriffen und führt zu einer Wiederholung der Einleitung und einer Rückkehr zu den beiden Hauptthemen, die in einen triumphalen Schluss überleiten.Guardians of the Waves est une commande de l’Harmonie de la Gendarmerie maritime du Japon pour marquer son 30e anniversaire, en 2018. L’orchestre a créé l’œuvre dans le cadre d’un concert d’anniversaire le 8 novembre decette même année. Écrite en forme de marche traditionnelle, Guardians of the Waves s’ouvre avec une courte introduction qui mène au thème principal, interprété d’abord par les cuivres puis repris avec un déchant fleuri parles bois. Le thème est prolongé et se morphe en un second thème, d’abord en tutti, puis répété doucement par les bassons, saxophones ténor et euphoniums. Ce passage mène une mélodie conventionnelle dans les graves, jouée deuxfois avec divers accompagnements. Vient ensuite un trio plus calme, orchestré avec délicatesse et mettant en avant les instruments ténor. Repris par l’orchestre entier, ce passage est suivi d’un rappel de l’introduction avant unretour aux deux thèmes principaux, qui mènent une conclusion triomphale.
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