SKU: BT.GOB-001009-140

The composition ".The Fever Tree". in 2008 was commissioned by the Music Association of Central and Eastern Netherlands St.Willibrord as a gift to all its members on the occasion of the formation of a national music organization and the elimination of the music union for Central and Eastern Netherlands St.Willibrord.
The fever tree is a controversial legend about St. Willibrord (658-739).
The daughter of a pagan chieftain of Hoemannen that made the area around
Heumen unsafe, was seriously ill. They feared for her life.
The chief of the gang turned to predatory Willibrord, who same time in this region led mission.
Willibrord commanded theman to repent and a headband of the girl
to a certain special tree to hang.
The desperate captain obeyed, and his daughter was a miraculous heal.
Then came the anger of the Hoemannen against their leader, who in their
eyes had committed treason by the group to convert. They abused themselves to him and killed him brutally.
The daughter remained behind in great sorrow, comforted by Willibrord.

The composition has the following scenes:
- Andante moderato - the calling of Willibrord
- Allegro moderato - Willibrord passes through the province of Brabant and try to people to repent
- Vivace - Hoemannen terrorize the inhabitants of the area Heumen
- Andante - the healing of the sick girl and the conversion of the centurion
- Inquieto - the revenge of the Hoemannen
- Adagio - elegy on the death of the chief

De compositie 'The Fever Tree' (De koortsboom) werd in 2008 geschreven in opdracht van de Muziekbond Midden- en Oost Nederland St.Willibrord, als geschenk aan al haar leden bij gelegenheid van de vorming van één landelijke muziekorganisatieen de opheffing van de muziekbond voor Midden- en Oost Nederland St.Willibrord.

De koortsboom is een omstreden legende rond St. Willibrord (658-739).
De dochter van de heidense hoofdman van de Hoemannen, diehet gebied rond Heumen onveilig maakten, was ernstig ziek. Men vreesde voor haar leven. De hoofdman van de roofzuchtige bende wende zich tot Willibrord, die in dezelfde tijd in deze streek missioneerde. Willibrord gebood deman zich te bekeren én een hoofdband van het meisje aan een bepaalde, bijzondere boom te hangen. De radeloze hoofdman gehoorzaamde en zijn dochter werd op wonderbaarlijke wijze genezen. Toen keerde de woede van de Hoemannen zichtegen hun leider, die in hun ogen verraad had gepleegd aan de groep door zich te bekeren. Ze vergrepen zich aan hem en vermoordden hem op gruwelijke wijze. De dochter bleef in grote droefheid achter, getroost door Willibrord.

De compositie kent de volgende tableaus:

- Andante moderato - de roeping van Willibrord
- Allegro moderato - Willibrord trekt door het Brabantse land en tracht de bevolking te bekeren
- Vivace - deHoemannen terroriseren de inwoners van het gebied rond Heumen
- Andante - de genezing van het zieke meisje en de bekering van de hoofdman
- Inquieto - de wraak van de Hoemannen
- Adagio - treurzang over de doodvan de hoofdman.

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: AP.5105

UPC: 038081049960. English.

This sensitive work introduces the young concert band to the classic overture form. A Maestoso introduction sets the mood for a soft and simple flute and clarinet melody. It then segues to a smooth Moderato 3/4 section accented with bells and a cornet counterline. (Grade 1) This title is available in MakeMusic Cloud.

SKU: HL.44003602

UPC: 073999036022. 8.75x11.75x1.382 inches.

Die Komposition wurde wegen der charakteristischen tanzerischen Teile zu Recht Suite genannt. En Bateau zum Beispiel, wahrscheinlich benannt nach einem Gedicht von Verlaine, das eine Bootsfahrt im Mondlicht beschreibt, ist in einer sich wiegenden Barkarole vertont. Dem folgt ein lockerer Aufzug (Cortege) im Marschrhythmus, ebenfalls nach einem Gedicht von Verlaine benannt. Das Tempo dieses Teils ist moderato, der burleske Mittelteil wird im Tempo scherzando gespielt. Der dritte Teil ist ein Menuett in einem abgeklarten, klassischen Stil. Das Werk endet mit einem feierlichen Ballett im allegro giusto. Dieser lebhafte Zweivierteltaktwechselt sich mit einem lockeren Walzer im Dreiachteltakt ab.

SKU: CL.011-2933-01

An expressive introduction leads to an exciting allegro section that is both unique and appealing! An interesting moderato section adds contrast before returning to the allegro and a bold, dynamic ending. Perfect for contest or concert use.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

SKU: CL.CTS-7703-00

A dramatic opening marked Moderato Maestoso announces the thematic material for Concert Dance and Intermezzo. The dramatic opening quickly ends and an Allegro begins with solo Latin percussion instruments. The Allegro winds its way through the material, and then it transitions to Andante Rubato; where a solo trumpet plays the secondary theme. Once the slower section has played out, the Allegro tempo returns with a solo by piccolo backed by the previous Latin percussion instruments. Several key changes and volume variances provide a transition to the original theme. Smith combines several of these themes and fragments together for an exciting conclusion.

SKU: BT.DHP-0920404-140

Jan Van der Roost komponierte diese Suite anlässlich des 110. Geburtstages der Koninklijke Sint Martinusfanfare aus Halle (Brabant).
Auftrag des Komponisten was es, ein dreisätziges Werk zu schreiben, dessen einzelne bildhafte Teile einen Bezug zur Sint Martinusfanfare herstellen sollten. Der erste Satz, ein Andante Pomposo, beschreibt Martin, Soldat im römischen Heer. Das darauffolgende Andante Moderato zeichnet ein Bild von Martin, der sich zum Christentum bekehrt und sein Leben Gott widmen möchte. In diesem Satz ließ sich derKomponist von der brabantischen Gotik der Sint Martinus Basiliek in Halle inspirieren. Der Kontrast zwischen der dunklen Basilika und der von hoch emporstrebenden Pfeilern umgebenen, strahlenden Statue der Mutter Gottes wird für den Zuhörer in diesemausdrucksvollen Bild leicht nachvollziehbar.
Der Schlusssatz, ein Allegro Molto Vivace, hätte die musikalische Beschreibung eines ausgelassenen Bauerntanzes während des Karnevalsumzugs in Halle sein können. In einem dem Heiligen Martin gewidmeten Triptychon ist es jedoch angemessener, in einerApotheose darauf zu verweisen, als Krönung des pastoralen Wirkens des Heiligen Martin, Bischof von Tours, Schutzheiliger des Auftraggebers und Stifter der Basilika in Halle.

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.