Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Cowboy Songs Of The Great American West. Par HANNICKEL MIKE. STAMPEDE!!! takes us back to an old American West of longhorn cattle-drives, chuck wagons, campfires and trail songs. Based on several authentic cowboy songs, STAMPEDE!!! opens at dawn (birdcalls included) with the “Cowboy’s Gettin’ Up Holler”. Lively fiddle and harmonica motifs and an eloquent scoring of “Good-bye, Old Paint” are just part of this contribution to Grade 3 concert band literature by Mike Hannickel. “The Chisholm Trail” (a true cowboy classic) figures importantly at the beginning and, in a driving re-harmonization, leads to the thrilling conclusion. / Niveau : 3 / Musique légère originale / Répertoire / Concert Band

Le Carnaval des Animaux est l''uvre la plus connue de Camille Saint-Saëns. Elle se compose de 14 morceaux écrites pour la flute piccolo, la clarinette, l'harmonica, le xylophone, deux pianos, et les instruments à cordes. Dans cette 'uvre, le compositeur peint les portraits musicaux d'un lion, des poulets, des tortues, d'un éléphant, des kangourous, et du cygne.

STAMPEDE!!! takes us back to an old American West of longhorn cattle-drives chuck wagons campfires and trail songs.Based on several authentic cowboy songs STAMPEDE!!! opens at dawn (birdcalls included) with the ?Cowboy?s Gettin? Up Holler?. Lively fiddle and harmonica motifs and an eloquent scoring of ?Good-bye Old Paint? are just part of this contribution to Grade 3 concert band literature by Mike Hannickel. ?The Chisholm Trail? (a true cowboy classic) figures importantly at the beginning and in a driving re-harmonization leads to the thrilling conclusion.

Described as ?Carter Family - meets - Ramones ? this 7-piece NYC ensemble whips up a bubbling cast-iron melting pot of classic country styles; from Bluegrass to Rockabilly Western Swing to Honky Tonk with just the right amountof punk thrown in for good measure. Catchy quirky melodies and left-field lyrics are heightened by virtuosic leads on Telecaster and fiddle whooping blues harp and freight train rhythms. This exciting genre-bending collectionof songs guitar tabs and more is great for non-traditional Americana songwriters guitar players looking to turn up the twang fiddlers/violinists looking for their roots and anyone inspired to start their own DIYhillbilly-blues harmonica and washboard band.

Mike Tomaro has taken this Beatles favorite and converted it into a unique setting for jazz ensemble. He kept the slow funky groove intact but went a little nuts harmonically! Includes an optional guitar solo. This is a greatchart for something alittle different.

This exciting overture opens with a fanfare section that emphasizes the brass and is active rhythmically as well as harmonically. A strong full sound will result from the richly scored chromatic parallel triads. For musicalcontrast the middle section is quasi-rubato and very lyrical relying mainly on the woodwinds with low brass added later. The transition back to the original rhythmic fanfare is smoothly written and effectively brings the work toa close. This overture is a fine choice for concert contest and festival. (Grade 3)

Purple Mountain Majesty is an arrangement of Samuel Augustus Ward's beloved patriotic anthem America the Beautiful. While the band arrangement by Carmen Dragon remains a classic in its own right this setting is designed to provide younger bands with a more technically accessible yet still harmonically interesting version. The woodwind exposures surrounding the original melodic material are intended to place the piece in a more pastoral environment hence the title.

Journey of the Lone Wolf tells the story of the hungarian composer Béla Bartók. It was commissioned by Dr. Nicholas Childs for Black Dyke Band who gave the first performance on Sunday 26 January 2014 at the Bridgewater Hall Manchester as part of the Royal Northern College of Music Festival of Brass. The composer's programme notes for each movement:1. Capturing the Peasants SongAfter the upheaval of moving to Budapest the young Béla Bartók meets Zoltán Kodály and the pair embark on summertime adventures throughout the Hungarian countryside to collect and catalogue the astonishingvariety (both harmonically and rhythmically) of gypsy and folk music heard in the Balkans. The arrival of WW1 plunges Bartók's beloved Hungary into chaos.2. Night MusicBartók was at times a cold man aloof and lonely. The odd moments of tenderness he showed are portrayed here in a series of evocative solos. His brief but intense affairs speak of a love he could only long for. Jazz is my night music and here there are hints of what Bartók may have heard in the USA later in his life.3. Flight and FightHaving been forced by the world's evils to leave his homeland of Hungary for America Bartók the anti-fascist felt isolated and angry. In this movement we hear his longing for a simpler time of gypsy folk dances as well as his maturity and depth as a composer finally exploring deeper colours and darker themes.

This large-scale three-movement work commissioned by Ray Cramer and the Indiana University Wind Ensemble embodies the transformation of silence into sound. The opening movement is sparse utilizing mallet percussion harp andpiano to create a floating sense of timelessness. Featuring extensive solo flute this floating texture gradually builds over several minutes ultimately launching itself into a grandiose warm harmonically consonant blanket ofsound. The second movement continues the focus on solo flute and again opens slowly gradually gaining momentum but at a faster pace than in the first movement. The music spirals upward and outward but instead of reaching aplateau winds itself out and comes to a grinding halt in the upper range of the ensemble. Five brief solemn chords conclude the movement which immediately erupts into Movement III music of unceasing unsettling motion propelled by a driving ostinato which is repeatedly interrupted by bittersweet moments of lyricism all the while pushing toward an unforgiving climax. The movements may also be performed separately. There is no explicit narrativeto the piece though many particular elements do have personal quasi-biographical significance. Ultimately this is music of both personal and musical transformation.NOTE: This work is available as a rental item directlyfrom the composer. For details e-mail rental@stevenbryant.com. The score is also available separately for purchase from Hal Leonard.

This composition was commissioned by 'Koningin Wilhelmina Wamel' on the occasion of its one hundred year anniversary. That it is a composition for xylophone and concertband lies in the fact that Harmony has a very talented young percussion player in the person of Barry Jurjes. The piece is both melodically and harmonically based on four notes (C - Dflat - F - G). The structure is divided into four parts: slow - fast - slow - fast.

Journey of the Lone Wolf tells the story of the hungarian composer Béla Bartók. It was commissioned by Dr. Nicholas Childs for Black Dyke Band who gave the first performance on Sunday 26 January 2014 at the Bridgewater Hall Manchester as part of the Royal Northern College of Music Festival of Brass. The composer's programme notes for each movement: 1. Capturing the Peasants SongAfter the upheaval of moving to Budapest the young Béla Bartók meets Zoltán Kodály and the pair embark on summertime adventures throughout the Hungarian countryside to collect and catalogue theastonishing variety (both harmonically and rhythmically) of gypsy and folk music heard in the Balkans. The arrival of WW1 plunges Bartók's beloved Hungary into chaos.2. Night MusicBartók was at times a cold man aloof and lonely. The odd moments of tenderness he showed are portrayed here in a series of evocative solos. His brief but intense affairs speak of a love he could only long for. Jazz is my night music and here there are hints of what Bartók may have heard in the USA later in his life.3. Flight and FightHaving been forced by the world's evils to leave his homeland of Hungary for America Bartók the anti-fascist felt isolated and angry. In this movement we hear his longing for a simpler time of gypsy folk dances as well as his maturity and depth as a composer finally exploring deeper colours and darker themes.

Rarely does a grade 1 composition achieve the level of sophistication and daring found in this new work by Michael Sweeney. Dark and ominous sounds are heard at the beginning with Oriental hints and percussive effects.Harmonically adventurous throughout this is sure to be an exciting and rewarding piece for beginning players.