In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day fullof fun and pleasure awaits! You and the other visitors will be confronted with all the rides attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! Aparade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun is the Haunted House. Here visitors will be challengedto visit a house full of ghosts creepy figures and other ominous things. The clock strikes twelve there is no turning back. Ghosts are whispering yelling screaming... Fortunately it is almost one oclock so we can leave this creepy placequickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have afantastic view over the park but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting you will discover fable figures talking animals and colorful designs. Such a beauty and tranquility. Having had this experience we are ready again for thebig rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bumpagainst someone else. In this tough ride you can prove yourself as a real driver or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest fastest and scariest ride in the park ... we shoulddefinitely do the Roller Coaster! All together in the train the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the topand the train will be plunged down the first drop! Loops corkscrews and other spectacular coaster elements will follow... Before you know it the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [withanimation]Unfortunately everything comes to an end.

As he did before in the often played and commonly appreciated ‘Lord Tullamore’ in which he poetically depicted the landscape and the cultural elements of a small Irish village in his composition ‘The Road to the West’ Carl Wittrock has sketched pioneer existence in America in a cinematic manner.In ‘The Road to the West’ the composer has tried to capture images of pioneer life during the period dating from 1850 to 1890 the days of the so-called Wild West.In those days the Wild West used to be the territory west of civilization the domain of cowboys trappers and other fortune hunters. In short ample ingredients for a captivating story.In the firstscene a lonely adventurer struggles against nature and the elements. After an exciting adventure he passes through ‘the Plains’ where majestic views alternated by colossal mountain ranges display an almost unimaginable beauty.After weeks of isolation civilization is reached again. ‘The Saloon’ is the perfect meeting place – here news is exchanged and hilarious scenes regularly take place.

Scottish Dances is based on three Scottish traditionals: Cock of the North The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous it seems delicious liqueur and rallies to snowboard competitions. Furthermore is 'Cock O' the North ' a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary had a canary Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. ' The Bonnie Bank's O'Loch Lomond ' is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding after the official ceremonies there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as 'Marie's Wedding '. Mid dance we go back to the church where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely on we go heel for heel and toe for toe Arm and arm and on we go all for Marie's wedding

Laling for Brass Band. Par SCHJELDERUP FREDRICK (Arr.). Laling is a Norwegian folktune from Bø. The arrangementet of the lullaby starts off with a calm atmosphere (like a dream). The dream develops into a more funky section, until it calms down again. Laling was commissioned by Korpsnett Norge, for their project ?Arvegods? (Heritage), based on Norwegian folk tunes. / Date parution : 2023-07-31/ Répertoire / Ensemble de Cuivres

Jacob de Haan arranged the famous piece Amazing Grace for four-part variable ensemble which may be complemented with percussion. With this intrumentation it is possible to play the piece with almost any combination of instruments.The piece opens with the song theme which after a modulation flows into an intermezzo characterized by a free interpretation of the theme. The interlude reaches a climax introducing the finale where the melody can be heard once again in all its beauty.

Shalom Chaverim is an ancient Hebrew (farewell)song which was originally sung at the end of a celebration or meeting. It was and is mostly sung as a round. Freely translated the words mean ?Goodbye friends goodbye and see you again!?. The varying moods at a parting have been captured very well by Andreas Schulte in his arrangement ?Variations on Shalom Chaverim?. The composer himself says about the song ?Although the melody is in a minor key the overall atmosphere in the song is positive. one wishes each other all the best. Saying goodbye however also hurts. When you slow down the pace of the melody and add ?blue notes? in the harmonies this can be sensed immediately.?Schulte refers here to the first variation. The second variation is very intense with possibly even deeper-felt emotions. ?Variations on Shalom Chaverim? ends on a cheerful and positive note in fast tempo and with oriental elements in the melody: ?L'hitra'ot Shalom? (See you again and farewell!).

In ‘A Summer Holiday’ Patrick Millstone takes us with him on a journey. After a year’s hard work we may finally enjoy a well-earned holiday. The first part of this three-part composition has the appropriate title ‘On Tour’. When we chose our holiday destination the brochure said that it would be bathed in sunlight every day. Unfortunately this turns out not to be the case. Somewhat melancholically we play round games in our summer house on a ‘Rainy Day’. However the next day when the sun again has driven away all the clouds we naturally visit the ‘Crowded Beach’ where we enjoy both sun sea and beach once again.

A Tale as Yet Untold was commissioned by the Cory Band for the European Brass Band Championships in Linz Austria 2010 and their winning performance gave them a hattrick of victories at the competition. The theme of this impressive work which is set in three movements is one that recurs again and again throughout the music of Philip Sparke the power of the human spirit to overcome adversity and how the beauty of music can help in this respect.

In upstate New York lie the Catskill Mountains - an extraordinary combination of tranquillity and power peace and majesty. Once seen they call you back again and again. This brass band transcription has been made by Phillip Littlemore and explores the sonorous and warm sounds of the brass band. The Catskills is the second movement of East Coast Pictures originally written for wind band and was commissioned in 1985 by the British Youth Wind Orchestra with funds from National Westminster Bank plc. These three short ‘pictures’ were inspired by several visits by the composer to a small part of the USA’s East Coast an area that provides great extremesin the geography and the people.

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends) after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.At first 'Invocation' radiates a sense of serene calme from which the composer gradually creates an atmosphere resembling a conversation.Half-way there is an increase of suspense ending once again in calm.The listener remains uncertain however regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden) nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek. In het begin straalt 'Invocation' een gevoel van serene rust uit waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek. Halverwege is er een toename van de spanning die weer in rust eindigt. De luisteraar blijft echter onzeker over de afloop.

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends) after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.At first 'Invocation' radiates a sense of serene calme from which the composer gradually creates an atmosphere resembling a conversation.Half-way there is an increase of suspense ending once again in calm.The listener remains uncertain however regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden) nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek. In het begin straalt 'Invocation' een gevoel van serene rust uit waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek. Halverwege is er een toename van de spanning die weer in rust eindigt. De luisteraar blijft echter onzeker over de afloop.

In this composition Jacob de Haan sees the 'Ross Roy' as a metaphor for the years spent at school (a monument in time) where one's personality is formed. So the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion which strides along in the lower register and percussion at the beginning of the next section is typical of 'Tempo di Marcia'. This movement accompanied by repetitions of sound is a metaphor for the structure and discipline in school. This is the introduction to a march theme symbolic of 'passing through' the classes up to the final examinations.Then the Ross Roy theme is dealt with again now in aplayful humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds constituting the modulation to the final theme are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture for the school years can be considered the 'overture' to the rest of one's life.

This substantial work by Jan de Haan explores the many tonal qualities of the brass band. Following a quiet opening theme based on Phrygian tonality the band bursts into life with a massive climax. Following a jolly second theme characterised by large interval jumps peace and quiet is again restored. Both themes are developed with many poignant solo figures until we reach a resounding fortissimo climax with the solo cornet performing the first theme from the back of the auditorium. A spectacular concert work containing all the elements that bring out the best in brass band sound.