Short timeout versions of just about every hot jammin', slammin', rockin', poppin', tune you could ever think of playing in the stands! Includes over 30 stands favorites such as: The Hey Song, Devil with the Blue Dress, Get Ready for This, We Will Rock You, Y.M.C.A., Wild Thing, Gimme Some Lovin', Born to Be Wild, Walk This Way, Twist and Shout, and many more. (Grade 3) / Conducteur

Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ; it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano… In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara's wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann 's genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann 's Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann 's compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstuck, Op. 92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at / Date parution : 2019-12-12/ Répertoire / Piano et Orchestre

Overture. Par MOZART WOLFGANG AMADEUS. In 1786, Wolfgang Amadeus Mozart composed his wonderful opera Le Nozzi di Figaro. In the opera Count Almaviva tries to seduce the fiancée of Figaro, his valet. Eventually, through four acts full of complicated intrigue, he is outwitted. In his music, Mozart, at times in a humorous way, reflects the numerous social and erotic intrigues with both empathy and insight. The brilliant overture is just as vivacious and witty as the opera itself. Mozart delightfully anticipates the passion and playful love that is to come. The skillful transcription for concert band by the Japanese composer Tohru Takahashi certainly does justice to this enchanting music. / Niveau : 5 / Transcription / Date parution : 1905-06-27/ Répertoire / Concert Band ou Harmonie

Overture. Par MOZART WOLFGANG AMADEUS. In 1786 Mozart composed his wonderful opera Le Nozze di Figaro (KV 492). The Italian libretto, based on the play Le mariage de Figaro by Beaumarchais, was written by Lorenzo da Ponte who also made the libretti of Mozart’s opera’s Don Giovanni and Così fan tutte. In the opera Le Nozze di Figaro, Count Almaviva tries to seduce the fiancée of Figaro, his valet. Eventually, through four acts full of complicated intrigue, he is outwitted. In his music, Mozart at times in a humorous way reflects the numerous social and erotic intrigues with both empathy and insight. The brilliant overture is just as vivacious and witty as the opera itself. Mozart delightfullyanticipates the passion and playful love that is to come. The skillful transcription for concert band by Tohru Takahashi certainly does justice to this appealing music. / Niveau : 5 / Transcription / Répertoire / Concert Band

Overture. Par MOZART WOLFGANG AMADEUS. In 1786, Wolfgang Amadeus Mozart composed his wonderful opera Le Nozzi di Figaro. In the opera Count Almaviva tries to seduce the fiancée of Figaro, his valet. Eventually, through four acts full of complicated intrigue, he is outwitted. In his music, Mozart, at times in a humorous way, reflects the numerous social and erotic intrigues with both empathy and insight. The brilliant overture is just as vivacious and witty as the opera itself. Mozart delightfully anticipates the passion and playful love that is to come. The skillful transcription for concert band by the Japanese composer Tohru Takahashi certainly does justice to this enchanting music. / Niveau : 5 / Transcription / Date parution : 1905-06-28/ Répertoire / Concert Band

Books talk to each other' - Umberto Eco's statement could just as easily apply to music, as Les Citations for Oboe, Harpsichord, Double Bass and Percussion by Henri Dutilleux (1916-2013) brilliantly proves. Written in 1991, the score was reworked by the composer for the Festival d'Auvers-sur-Oise, where the new version premiered in June 2010. The origin of this work goes back to For Aldeburgh 85. Written for the 75th birthday of singer Peter Pears, the piece takes up a fragment of Peter Grimes, whose leading role had been written by Britten for the beloved tenor. Dutilleux adds a page titled From Janequin to Jehan Alain in which appears a song from the Renaissance composer, 'L'espoir que j'ay d'acquerir vostre grace', used by J. Alain in his Variations for Organ on a theme by Clément Janequin. The junction between the two parties is made through an Interlude that introduces the 'wolf's moan' theme from the ballet Le Loup (The Wolf) composed by Dutilleux in 1953 for the troupe of Roland Petit. This subtle tangle of quotations forms a shimmering and sensual work where the uniqueness of an authentic artist powerfully asserts itself.

Par WONDER STEVIE. Stevie Wonder ist ein hervorragender Textschreiber, Komponist und Musiker. Er vermischt afroamerikanische Traditionen mit Rhythm, Blues und Rock zu Soulmusik wie kein anderer. Songs, wie You Are the Sunshine of My Life oder I Just Call to Say I Love You wurden zu Welterfolgen. Sir Duke ist Stevie Wonders musikalische Hommage an den legendären Jazzer Duke Ellington. / Niveau : 4 / Pop and rock / Recueil / Concert Band ou Harmonie

Arr. Timothy Johnson. Par MOZART WOLFGANG AMADEUS. 'Melody is the very essence of music. ' -W. A. Mozart (1786)Mozart confirmed this view on melody by writing the Ave Verum Corpus near theend of his short life. Originally written for chorus, strings, and organ, this work standsamong the most beautiful musical expressions of all time. Timothy Johnson has skillfullymade Mozart's wondrous achievement available to concert bands. It's perfect forworship services and the sostenuto style, with careful attention to dynamics, makesit a great choice for that 'middle' spot at festival or for the more serious moment atany performance. Given the opportunity, young bands LOVE to play truly greatmusic, and it just doesn't getmuch better than the mastery of Mozart. / Niveau : 2 / Répertoire / Concert Band ou Harmonie

Par HAENDEL GEORG FRIEDRICH. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions./ Répertoire / Chant et Orchestre

Par VAN DER ROOST JAN. This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the 'Provence'. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some 'spicy' notes (. . . just like the wellknown 'Provençal sauce'! . . . ). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section. Every movement has its own character: 'Un Ange a fa la crido' (= An angel brought the creed / credo) is like a bourrée, 'Adam e sa Coumpagnou' (= Adam and his companion) is an old love song, 'Lou Fustié' (= the carpenter)a fast dance and finally 'Lis Escoubo' (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. / Niveau : 3 / Répertoire / Concert Band ou Harmonie

Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano

Arr. Timothy Johnson. Par MOZART WOLFGANG AMADEUS. 'Melody is the very essence of music. ' -W. A. Mozart (1786)Mozart confirmed this view on melody by writing the Ave Verum Corpus near theend of his short life. Originally written for chorus, strings, and organ, this work standsamong the most beautiful musical expressions of all time. Timothy Johnson has skillfullymade Mozart's wondrous achievement available to concert bands. It's perfect forworship services and the sostenuto style, with careful attention to dynamics, makesit a great choice for that 'middle' spot at festival or for the more serious moment atany performance. Given the opportunity, young bands LOVE to play truly greatmusic, and it just doesn't getmuch better than the mastery of Mozart. / Niveau : 2 / Musique pour célébration / Répertoire / Fanfare

Percussion Section Feature. Par CURNOW JAMES. A vibrant and attentive Percussion section is crucial to the success of any concert band. However, the Percussionists play a supporting role so much of the time that it can be difficult to keep your best players excited about their music. One of the best ways to beat that problem is to program an occasional feature piece. James Curnow’s BLOCKBUSTER PERCUSSION is just the arrangement you need when it’s time to let the Percussion section “show off” a bit. Bold, exciting themes and a well-crafted rhythmic modal concept keep the parts interesting for all the players in the band. AND, audiences love the energy that only the Percussion section can deliver! Give everyone a treatby programming BLOCKBUSTER PERCUSSION soon! / Niveau : 2 / Musique légère originale / Répertoire / Percussions et Concert Band ou Harmonie

Par VAN DER ROOST JAN. This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the 'Provence'. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some 'spicy' notes (. . . just like the wellknown 'Provençal sauce'! . . . ). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section. Every movement has its own character: 'Un Ange a fa la crido' (= An angel brought the creed / credo) is like a bourrée, 'Adam e sa Coumpagnou' (= Adam and his companion) is an old love song, 'Lou Fustié' (= the carpenter)a fast dance and finally 'Lis Escoubo' (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. / Niveau : 3 / Répertoire / Fanfare

Arr. Mike Hannickel. Par TCHAIKOVSKI PIOTR ILITCH. Everyone loves the NUTCRACKER! The immense and unprecedented popularity of this ballet seems to be without limit. Now your Grade 1 band can experience the joy of playing the themes they know so well. This extremely flexible arrangement can be used in so many ways!! Play it all, or leave out selected movements. Use the optional 'tag' ending, or skip it. Due to the flexibility of this arrangement, THE NUTCRACKER is great for programming early in the school year (while you're still discovering the capabilities of 'this year's band'). Also, notice the 'suggested changes' in the Notes to the Director, which make this arrangement more flexible yet! You just can't lose with MikeHannickel's arrangement of Tchaikowky's NUTCRACKER SUITE. / Niveau : 1.5 / Répertoire / Concert Band ou Harmonie