SKU: BT.GOB-000264-020
Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest, Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director, Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F, a semitone, third, fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif, theother being Fanfare for a Bright New Age for Brass Band and Organ, also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence, like the first sounds at the dawning of the universe. After the immense power, a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres, sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person, he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre, lending itself to considerable rubato. Melody is king, and all else is mere support and decoration, careful attention must therefore be given to balance.
SKU: BT.GOB-000264-120
SKU: BT.DHP-0930474-020
This hymn was commissioned by “Antwerpen 93â€. And this city, on the banks of the river Schelde has been nominated “Cultural Capital of Europe†for 1993. The work-group “animatie†took the initiative and commissioned a hymn, which -as the finale to a grand open-air event on 27th March- was premièred by hundreds of musicians from all over Europe. Philippe Langlet (France) was the conductor at this majestic occasion.Musically speaking the piece can no doubt be labeled easy. Indeed it is meant to represent a hymn, playable by all in different instrumental combinations. Consequently a variable instrumentation was chosen and a type of music, which by native is easily accessible anduncomplicated.The conductor is free -in the instrumentation- to score this piece according to his own taste. It is perhaps advisable to use the sharp brass in the forte parts, in order to make the range in the sound of the orchestra as colouful as possible. The percussion parts are not absolutely essential, so that the hymn can also be performed without percussion.
SKU: BT.DHP-0991617-120
Eins der meist gesungenen Kirchenlieder ist Allein Gott in der Höh sei Ehr. Der Text des Hymnus ist ein Ausdruck der Ehre Gottes und Dankbarkeit für seine Gnade. Wim Stalman basierte sein Werk Grace and Glory auf die international bekannte Melodie dieses Chorals. Allein Gott in der Höh sei Ehr (Gloire ton Nom) est une hymne chrétienne universellement connue. Elle est la fois une louange la Gloire de Dieu et l’expression de la gratitude des Hommes. Cet arrangement pour Fanfare, réalisé par Wim Stalman, est basé sur la mélodie de ce choral. Fidèle au sens du texte du cantique, Grace and Glory (“Gloire et Gr ceâ€) nous transmet par des sonorités brillantes et douces la ferveur des louanges et la gratitude profonde de la communauté chrétienne. Cette superbe pièce de concert peut également être interprétée avec un Chœur mixte (SATB - Texte disponible en français).
SKU: BT.DHP-0991617-020
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version