A Selection from Ghana. Orff-Schulwerk has been translated and adapted for use in many countries and there are editions in numerous languages, with a comprehensive range of supplementary material. Those teachers using the various English editions will find here a rich and exciting source of traditional folk songs, dance melodies and original material from other countries, which will enlarge and enrich the activites and experiences of their pupils. Discover the Orff-Schulwerk in the African tradition, a selection from Ghana by W. K. Amoaku. Based entirely on African material./ Recueil / Voix et Orff-Instruments

Par STROM YALE. With this series we want to give young musicians the opportunity to familiarize themselves with music cultures from all over the world. A selection of pieces of fascinating and, at the same time, important styles of music from different countries should further intensify the already present interest. It is of particular importance to us to present, by example, traditional folk music from various countries in authentic arrangements as well as pieces which were composed especially for this series. Rhythms, styles, and instruments typical of a certain country are explained in short texts. The pieces are intended for modern ensemble instruction, in flexible instrumentation, and, thus, can be employed in a variety of ways. Aside from a play-along version, the CD also contains an ensemble version with instruments typical of the respective style of music. Additionally, the instrumental parts can be found on the CD. Idea for group teaching and concerts. / Date parution : 2023-03-21/ Recueil / Ensemble Flexible

Pentatónico. Par ORFF CARL / KEETMAN GUNILD. Orff-Schulwerk has been translated and adapted for use in many countries and there are editions in numerous languages, with a comprehensive range of supplementary material. Those teachers using the various English editions will find here a rich and exciting source of traditional folk songs, dance melodies and original material from other countries, which will enlarge and enrich the activites and experiences of their pupils./ Répertoire / Voix, Flûte à Bec et Orff-Instruments

Six Mozart Opera Arias. Par MARTLAND STEVE. With Wolf-Gang, the British composer Steve Martland, ironizingly, follows the 18-century tradition of wind music ensembles with which underpaid musicians made some money on the side. Martland arranged six arias from Don Giovanni, The Magic Flute and Le Nozze di Figaro for wind octet, adapting them to today‘s possible playing techniques. By adding cor anglais and soprano saxophone, it was possible to have each aria played by a different combination of instruments so that each aria stands out against the others with regard to the sound. While rearranging the instrumentation, Martland left the musical material of Mozart untouched./ Répertoire / Octuor d'Instruments à Vent

1. Emerald Isle (Île d?émeraude), cette première partie met en vedette la verdoyante île d?Irlande et son riche patrimoine de musique folklorique traditionnelle. Elle s?ouvre avec « My Lodging Is on the Cold Ground », un air également connu sous le titre « Believe Me, If All Those Endearing Young Charms » (mesures 5-24). Vient ensuite un autre air célèbre, « The Minstrel Boy » (mesures 29-44), lui-même suivi de « The Groves of Blarney », peut être mieux connu sous le titre « The Last Rose of Summer » (mesures 53-68). Chaque air est annoncé par une courte introduction et s?achève avec une courte conclusion. 2. Old Kentucky Memories (Souvenirs du vieux Kentucky), après une introduction de 14 mesures, toute l?attention se porte sur la chanson « My Old Kentucky Home ». A fil de la pièce, des fragments de souvenirs fugaces émergent, disparaissant aussi vite qu?ils se présentent : cette impression est créée par le biais de courts motifs et thèmes empruntés à d?autres chansons. On les entend brièvement puis ils s?estompent, comme de lointains souvenirs du vieux Kentucky, jusqu?à une reprise de l?introduction pour conclure la pièce. 3. Uppland, est une province suédoise aux riches traditions musicales, tout comme l?ensemble de la Suède, qui compte de nombreuses danses et chansons. Beaucoup sont en tonalité mineure, et cette partie en comprend trois. La première est « Svensk folkvisa » (mesures 1-38), qui est suivie de « ?Värmlandsvisan » (mesures 39-67), et la pièce s?achève avec « Vexelsang » (mesure 68 jusqu?à la fin). 4. Ratatouille, cette dernière partie ne comprend pas d?air provenant d?un seul pays. C?est un méli-mélo, une « ratatouille » de trois chansons folkloriques sans aucun lien. Il y a d?abord une chanson russe, « Le Rossignol » (mesures 1-30), puis « Sakura », originaire du Japon (mesures 31-58) et, enfin, « Waltzing Matilda », venue d?Australie (mesure 59 jusqu?à la fin). La chanson russe est d?Alexander Alyabyev (1787-1851), mais nous ignorons les auteurs des deux autres chansons./ Recueil / 4 Parties variables de Vents et Percussion

Auld Lang Syne. Par TRADITIONAL. This traditional melody is known worldwide as a song of farewell. Jan Van der Roost treated it as an anthem in this splendid arrangement. The melody is brought to us in whole or in part by various instruments and is surrounded by logical yet original - sometimes surprising - chords that dare to fluctuate. After a broad tutti, the ensemble begins to die out. The piece ends with an impressive diminuendo of the final chord, almost as if the orchestra itself were saying goodbye. / Niveau : 2 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

10 Sacred Ensemble Arrangements. Par TRADITIONAL. Designed with the sacred ensemble conductor in mind, UNLIMITED PRAISE is a delightful collection of 10 inspirational pieces. In a performance area where most musicians are volunteers, rehearsal time is often sketchy, and instrumentations are unpredictable, FLEXIBILITY can be a highly valued commodity. Arranged by internationally known composer/arrangers, UNLIMITED PRAISE truly makes the acceptable instrumentation of your ensemble unlimited. Virtually any combination of instruments can use this new publication. / Niveau : 2 / Répertoire / Concert Band ou Harmonie ou Fanfare ou Brass Band

Arr. Jacob De Haan. Par TRADITIONAL. 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. / Niveau : 2 / Musique pour célébration / Répertoire / Brass Band

Arr. Henk Hogestein. Par TRADITIONAL. Pour réaliser cet arrangement pour ensemble à vent à instrumentation variable, Henk Hogestein a choisi les lignes mélodiques des trois chants de Noël polonais Lulajze Jezuniu (“Dors, petit Jésus, dors”), Dzisiaj w Betlejem (“Aujourd’hui à Bethléem”) et Gdy sliczna panna (“La Vierge Marie berce son enfant”). Une variation de lumière pour un Noël polonais au charme authentique. / Niveau : 1.5 / Musique traditionnelle / Date parution : 1905-06-29/ Recueil / Brass Band

Variable Wind Quintet (With Percussion Ad Lib.). Par TRADITIONAL. Henk Hogestein a arrangé cette célèbre mélodie pour un ensemble à instrumentation variable à 5 voix, avec parties optionnelles de Bongo, Maracas et Tambourin.Part 1 Fl Htb Cl. Si?/Mi? Trp Part 2 Fl Cl. B. Cl. Alto Sax. A. Trp Cor Part 3 Cl. Alto Sax. T. Basson Cor Trb Eup. Part 4 Sax. T. Basson Trb Eup. Part 5 Cl. B. Sax. B. Basson Trb Eup. Tuba C. Cordes / Niveau : Facile à Intermédiaire / Répertoire / Quintette à vent Variable avec Percussions Ad. Lib

A Melodrama Interspersed With Music. Par BENDA GEORG. Georg Anton Benda's melodrama „Medea' (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's „Medea' was at the center of many heated debates. Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama. Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his „Medea' music were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified „Medea' as the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775. The third volume of the OPERA series 'Medea” contains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited. For further information regarding the work and the OPERA series, please visit www.opera-edition.com and Takte online/ Répertoire / Récitant et Orchestre

New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D” (D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously. Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for the first time. Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works./ Recueil / Orchestre

Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

Par GYORFFY ISTVAN. Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gyorffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movement transfers a characteristic playing technique of Hungarian instrumental folk music to the concert band. István Gyorffy composed Ungaresca for young people preparing for careers in music. The work provides an excellent opportunity for students not only to display their instrumental skills, but also to gain orchestral playing experience./ Répertoire / Concert Band

Par JOHNSON TIMOTHY. Troika Rushing is one of many popular traditional folk songs that exist in Russia. Though not all Russian folk songs are in the minor key, man of them are, including this one. All of the wind instruments take their turn in playing the melody making it enjoyable for all to play. / Niveau : 1.5 / Répertoire / Concert Band ou Harmonie