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SKU: CL.012-3902-75

Excerpts from the Opera. Composed by Umberto Giordano. Arranged by Vaninetti & Glover. Concert Band. Gems of the Concert Band Series. Audio recording available separately (item CL.WFR368). Oversized, spiral-bound score. Composed 2010. Duration 8 minutes, 40 seconds. Opus III Wind Orchestra Publications #012-3902-75. Published by Opus III Wind Orchestra Publications (CL.012-3902-75).

One of the most dramatic selections ever presented for band, Andrea Chenier has been a staple of mature and professional bands for over a century. This intense and exciting work includes some of the most passionate moments from the Italian opera into a breathtaking tour de force for mature bands. Prominently featuring bel-canto solos for euphonium and cornet/trumpet, the gorgeous melodies and dramatic musical climaxes will both thrill and excite performers and audiences alike. This striking new arrangement includes full score, and is carefully re-orchestrated to be more idiomatic to the wind band medium. Not for the faint-of-heart, and musically challenging, Andrea Chenier is ideal for experienced bands, and is not to be missed!

About Gems of the Concert Band

A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith

Concert band (Flute 1, Flute 2, Oboe*, Eb Clarinet*, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet*, Bassoon*, Eb Alto Saxophone 1/2*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, F Horn 1/2, Bb Trumpet 1/2, Trombone 1, Trombone 2*, Euphonium, (TC Barit) - grade 2.5

SKU: CN.S11075

Composed by Stuart Johnson. Band Music. Score only. Published by G & M Brand Music Publishers (CN.S11075).

Although not written as a pair for Bandstand Boogie, this Blues would make a fine contrast in any concert, but also stands on its own equally well. Plenty of Blues feel from a minimum combination too!

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 6:30. Published by Manhattan Beach Music.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1063946-010

Composed by Itaru Sakai. Inspiration Series. Set (Score & Parts). Composed 2006. De Haske Publications #DHP 1063946-010. Published by De Haske Publications (BT.DHP-1063946-010).

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

The Hida High School is in a highland city called Takayama in Gifu Prefecture. Takayama City has some of the highest mountains in Japan, atmospheric rows of houses and streets, and a beautiful landscape. The magnificent views from these mountains can be described as a paradise above the clouds. When the composer visited there in the summer of 2001, the lovely flowers spreading through the valley and the refreshing air welcomed him. The flowers looked as if they were fashionably dressed and fully enjoying conversation and a short summer at a reunion party. The composer was inspired by this scenery to compose this piece. The musical party opens with happy greetings of a reunion andjoyful themes follow one after another. A light xylophone solo, a waltz and an adagio featuring alternate solos by alto saxophone, euphonium and trumpet lead to a brilliant finale featuring brass and percussion played in irregular time. A beautiful musical picture that your band will enjoy performing for many years.

Takayama is een hooggelegen stad in de Gifu-prefectuur (Japan). Het oostelijke stadsdeel Tatamidaira ligt tussen schitterende bergen die behoren tot de noordelijke Japanse Alpen. Toen de componist in de zomer deze plaats bezocht,werd hij ge nspireerd tot het schrijven van Alpine Flowers’ Party! Het muzikale festijn begint met opgewekte klanken, waarna meer vrolijke scènes elkaar opvolgen. Een xylofoonsolo, een wals en een adagio met wisselende solo’svoor altsaxofoon, euphonium en trompet leiden naar een briljante finale met veel maatwisselingen, waarin het koper en het slagwerk de leiding nemen op weg naar een spetterend slot.

Als Itaru Sakai im Sommer 2001 die reizvolle Region um den Berg Tatamidaira in Japan besuchte, wurde er von einem Meer von Blumen empfangen. Sie sahen aus, als würden sie in festlichem Aufzug eine unterhaltsame Party feiern und den kurzen Sommer genießen. Diese Szenerie inspirierte den Komponisten zu Alpine Flowers’ Party! Die musikalische Party beginnt mit einer herzlichen Begrüßung, dann folgt ein fröhlicher Programmpunkt dem anderen. Ein spritziges Xylophonsolo, ein Walzer und ein Adagio mit abwechselnden Soli für Altsaxophon, Euphonium und Trompete führen zu einem brillanten Finale, in dem Blechbläser und Schlagzeug im Vordergrund stehen. Feiern Sie mit!

Séjournant au coeur des Alpes japonaises, Itaru Sakai est surpris par le doux parfum et les couleurs des fleurs. Il se laisse inspirer par la beauté harmonieuse qui se révèle devant ses yeux. Débute alors le délicieux festival des fleurs alpines. La conversation est animée. Un solo de xylophone apporte une touche de légèreté, une valse fait virevolter le développement, puis vient un adagio qui égrène les solos et mène vers un finale brillant.

Soggiornando nel cuore della splendida catena montuosa delle Alpi giapponesi, Itaru Sakai è sorpreso del dolce profumo e dai colori dei fiori. Si lascia ispirare dalla bellezza armoniosa che si rivela ai suoi occhi. Ha inizio il delizioso festival dei fiori alpini. La conversazione è animata. Un assolo di xilofono apporta un tocco di leggerezza, un valzer fa piroettare lo sviluppo del tema, ed in seguito un adagio snoda i soli e accompagna il brano verso un finale brillante.

Composed by Harold Bennett. Arranged by Larry Clark. For concert band (flute, oboe (opt. flute 2), clarinet 1 in Bb, clarinet 2 in Bb, bass clarinet in Bb, bassoon, alto saxophone in Eb, tenor saxophone in Bb, baritone saxophone in Eb, trumpet 1 in Bb, trumpet 2 in Bb, horn in F, trombone, euphonium t.c. in Bb, euphonium b.c). Young Performance Series. Score and parts. Duration 2 minutes, 10 seconds. Published by Carl Fischer

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:40. Published by Manhattan Beach Music.

By Edward Elgar. Arranged by Philip Sparke. (Score and Parts). ANGLO MUSIC PRESS. Size 9x12 inches. Published by Anglo Music.

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.

Euphonium and Piano. By James Curnow. (EUPHONIUM). Curnow Concert Band Full Set. Published by Curnow Music.

Concert band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Alto Saxophone , Bb Tenor Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Trumpet 1, Bb Trumpet 2, F Horn 1, F Horn 2, Trombone 1, Euphonium, Tuba, Timpani, Percussion 1 (to) - grade 2

SKU: CN.R10208

Composed by Bruce Fraser. Band Music. Score and parts. Duration 2:35. Published by G & M Brand Music Publishers (CN.R10208).

Concert Band - Grade 3 - Score and Parts. Arranged by William Laseroms. De Haske Concert Band Full Set. Published by DeHaske Publications.

By Timothy Broege. Concert band. Suitable for elementary and middle school bands. Level: Grade 1. Conductor Full Score. Duration 4:30. Published by Manhattan Beach Music.

Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet (optional), Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2, Ho) - grade 4

SKU: CN.S11042

Composed by George Lloyd. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (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.