Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1043755-010

Composed by Edvard Grieg. Your Favorite Classics. Transcription. Set (Score & Parts). Composed 2004. De Haske Publications #DHP 1043755-010. Published by De Haske Publications (BT.DHP-1043755-010).

English-German-French-Dutch.

In 1880, Edvard Grieg composed twelve song poems by Aasmund Olavsson Vinje. He arranged two of these songs for String Orchestra published under the title of Two Elegiac Melodies, Op. 34. These two deeply meloncholy pieces were titled The Wounded Heart and Last Spring. The latter of these two titles inspired Tohru Takahashi to produce this expressive and sensitive transcription for Concert Band, which will make a fantastic encore piece for any concert.

Last Spring komt uit de Two Elegiac Melodies for String Orchestra, opus 34. Deze muziek, gecomponeerd in 1880, is oorspronkelijk geschreven voor twee liederen uit Grieg's album opus 33: The Wounded Heart en Spring.De laatste van deze twee titels inspireerde Tohru Takahashi tot het maken van een prachtige transcriptie die heel geschikt is als toegift. Met hart en ziel gespeeld zal deze muziek uw beslist raken.

Edvard Grieg komponierte Zwölf Lieder zu Gedichten von Aasmund Olavsson Vinje. Zwei dieser Lieder arrangierte er für Streichorchester unter dem Titel Zwei elegische Melodien. Diese Lieder heißen The Wounded Heart (Der Verwundete) und The Last Spring (Letzter Frühling). Letzteres inspirierte Tohru Takahashi zu einer emotionalen Transkription, die mehr Musikverständnis als technische Fertigkeiten verlangt und sich hervorragend als Zugabenummer eignet.

En 1880, Edvard Grieg achève ses Douze mélodies sur des poèmes d’Aasmund Olavsson, Op. 33. Par la suite, il réalise une version pour Orchestre Cordes de deux mélodies extraites de ce cycle, et les publie sous le titre de Deux mélodies élégiaques, Op. 34. Il s’agit de deux pièces profondément mélancoliques, comme l’annoncent les sous-titres : Coeur blessé et Dernier printemps. Tohru Takahashi a réalisé une superbe transcription de la seconde mélodie, expressive et pleine de sensibilité (Dernier printemps/Last Spring).

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 9:00. Published by Manhattan Beach Music.

Full Score Concert Band (Score) - Grade 2-3

SKU: HL.4002924

Composed by Johnnie Vinson. Flex-Band Grade 3. Folk. 32 pages. Published by Hal Leonard (HL.4002924).

UPC: 884088457105. 9.0x12.0x0.064 inches.

This arrangement for flexible instrumentation is a setting of three traditional Czech melodies displaying a wide range of moods and styles. Includes: Walking at Night; Meadows Green and Spring, The Madcap.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:30. Published by Manhattan Beach Music.

Composed by Johan De Meij. Amstel Music. Amstel Music #AM134. Published by Amstel Music (HL.4003790).

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1053913-010

Composed by Julius Fucik. Arranged by Wil van der Beek. The Great Classics. Transcription. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053913-010. Published by De Haske Publications (BT.DHP-1053913-010).

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

Julius Fucik (1872-1916) was born in Prague, Czech Republic. He studied under Antonin Dvorák and at a young age played in military bands and later became bandmaster, a profession he practiced in various cities with many bands. In 1913 he settled in Berlin where he started his own music publishing house. As a composer Fucik is known for his light entertaining music however he also wrote chamber music, songs, choral works, a mass, a requiem and an unfinished opera. Many of his works have fallen into oblivion but many of his marches such as Einzug der Gladiatoren, Regimentskinder and Florentiner Marsch are still often played. With the concert overture Marinarella, Fucik takes us toan imaginary seaside resort on a beautiful spring day. Marinarella, a girl of the sea, accompanies us on our stroll. Leisurely walking couples on the boulevard, the murmur of the sea, fragments of a waltz melody from a café and a concert band performing a promenade concert pass you by. A fantastic opening work for any concert.

Met de concertouverture Marinarella neemt de Tsjechische componist Julius Fucik ons mee naar een denkbeeldige badplaats aan de kust op een mooie lentedag. Marinarella, een meisje van de zee, vergezelt ons op onze wandeling.Slenterende paartjes op de boulevard, het ruisen van de zee, flarden van een walsmelodie uit een café en een blaasorkest dat een promenadeconcert verzorgt passeren de revue. De vorm van deze ouverture is eenvoudig: na een snelleen luide opening volgt een langzaam, ongedwongen deel waarin enige solopassages zijn verwerkt. De afsluiting is weer krachtig en snel.

Julius Fucik (1872-1916) hat sich als Komponist vor allem mit Marschmusik wie dem Florentiner Marsch aber auch mit Werken in anderen Genres einen Namen gemacht. Mit dieser Konzertouvertüre entführt er uns auf einen Spaziergang ans Meer, in charmanter Begleitung eines Mädchens namens Marinarella. Gemütlich am Boulevard entlang schlendernd, schnappen wir verschiedene Geräusche und Konzerte auf. Ihr Publikum wird die Musik gerne auf diesen einfach strukturierten, aber sehr unterhaltsamen musikalischen Spaziergang begleiten!

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (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 Spring”) 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.