To arrange one of the most beautiful organ fugues by the great classical composer Johann Sebastian Bach (1685-1750) for concert band is certainly a demanding task. Klaas van der Woude has however performed this feat to produce this excellent and exciting arrangement. Organ Fugue is suitable for any festive concert!

« Fata Morgana » est le nom donné à un phénomène de mirage souvent observé au-dessus du détroit de Messine en Italie et que l'on attribuait à la fée (en italien fata) Morgane. Du mirage nous passons aux notes éthérées d?une rêverie qui se termine brutalement avec l?exposition d?un air de tango rythmé et endiablé. Et si la réalité nous avait rattrapés ?

Organ-Due to careful cueing and skillful arranging your band can play the Finale from the renowned ?Organ Symphony? even if you don?t have a pipe organ or an organist available. The big powerful sound of this Saint-Saens classic has been faithfully transcribed by James Curnow for your band.What a superb closer for your concert! Imagine the possibilities if you will be performing in a church or anywhere a real pipe organ is available! What an experience for your musicians!This is the ideal tool for work on balance and playing full value notes with a big beautiful symphonic tone quality. Unlike anything else available for band today you are sure to enjoy working with this forcefularrangement this year.Indomitable!

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

for Organ and Concert Band-Cette pièce a été composée en 2009 à la demande du Shinjuku Bunka Center à Tokyo pour marquer le trentième anniversaire de son ouverture. C?est une œuvre impressionnante combinant une fanfare éclatante et le son majestueux de l?orgue résonnant à travers la salle de concert. Elle a été créée par Hiroko Takahashi l?organiste du Centre et l?orchestre d?harmonie de Shinjuku City sous le bâton de Shigeto Ishizu. Les œuvres écrites pour orgue et orchestre d?harmonie sont rares. Fraîche et originale cette pièce d?ouverture sera suivie d?un solo d?orgue pouvant mener à une marche.

Symphonic Band-A fantasy on the 3-voice organum “Alleluia: Nativitas” composed by the 12th century master Perotin. The work uses great blocks of Perotin's polyphony juxtaposed and superimposed at multiple tempos and embroidered with some new materials echoing the Gothic style. The work was originally written for the North Hills High School Band. 2+Picc.2.3+Eb Clar+BCl+ContraBCl.2.AATB Saxes: 4.4.4.2 Euph.3: Perc(6).Organ/Synth.Pno

Compiled and Arranged by Franco Cesarini. During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians? awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground. 60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!

American Composer's Forum – BandQuest Series – Grade 3Rhythm Stand pays tribute to the constant presence of rhythm in our lives: from the pulse of a heartbeat to the rhythmic sounds of the world aroundus. Celebrating the regular order in our lives composer Jennifer Higdon incorporates traditional and non-traditional sounds within a 4/4 swing style setting to heighten student awareness and enhance their creativity. Organized inunique compositional and rhythmic patterns this work invites students to explore multiple ways of organizing sounds and making music.

‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax which is both dynamic and harmonic the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register with motifs in ornamentation for saxophones bugles and trumpets. The finale like the prelude is capricious and vehement.The instrumentation for concert band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section.

37 Part Books with Conductor Score and CD-Organize concerts with your beginning groups quickly and painlessly with this marvelous band collection of arrangements from the popular Essential Elements Band Series. Featuring 15 titles that correlate with the playing levelsfrom Book 1 of the Essential Elements Band Method this collection provides a variety of styles perfect for that first concert experience. Includes: Let's Rock Majestic March When The Saints Go Marching In Mickey Mouse March Power Rock Farandole Jus' Plain Blues My Heart Will Go On Rainbow Collection Supercalifragilisticexpialidocious Drums of Corona Laredo (Concert March) Pomp and Circumstance Stratford March and Do-Re-Mi.

for Concert Band Mixed Choir and Organ (optional)-Cette messe latine pour chorale et orchestre d?harmonie fut composée en l?honneur du jour de fête de la Sainte Cécile la patronne des musiciens. Pour cette raison beaucoup d?ensembles ont des concerts annuels dédiés à la Sainte Cécile ce qui futla source d?inspiration pour ce morceau. Le style festif optimiste mais aussi réconfortant de cette ?uvre convient parfaitement au caractère du jour de fête de la Sainte Cécile. Après Missa Brevis Missa Katharina et The GospelMass Missa Santa Cecilia est la quatrième messe écrite par le compositeur néerlandais Jacob de Haan.Partitions pour ch?ur disponibles séparément.

Par BRIDGE FRANK. Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge’s best known organ piece and including the chimes ofBig Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band ‘legend’ Timothy Reynish makes a fine alternative toHolst’s two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and alsoby the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music./ Répertoire / Orchestre D'Harmonie