Par BUNK GERARD. As a 20th century composer, Gerard Bunk developed a distinctive musical style comparable perhaps to that of Max Reger or Sigfrid Karg-Elert. In addition to Bunk?s large-scale organ work ?Legende? Op.29 and its symphonic version Op.29II, there is a further well-known ?Legende? Op.55b written for organ and string orchestra (or string quartet) which was composed in 1945. This edition offers the earlier version of this work, dating from 1914, in its original instrumentation for organ and brass quartet. In order to facilitate performance, the sketchily notated score is carefully supplemented by performance markings from the string version. What Albert Schweitzer praised in the earlier ?Legende?, ?the calm and vivid layout of the complete work?, is also recognisable in Bunk?s later composition: the catchy, modestly beautiful theme alongside the clear musical form of this ?Legende? for organ and brass quartet. - Scored for 2 Flugelhorns, French horn, Trombone - Attractive chamber music for brass with organ - Edited by the composer?s grandson - Also suitable for amateur ensembles / Date parution : 2022-07-30/ Répertoire / Orgue et Quatuor de Cuivres

for flute, english horn, clarinet in A, bassoon, french horn and piano. Par PERLE GEORGE. / Répertoire / Flûte Traversière, Cor Anglais, Clarinette en La,

Brass quintet instrumentation is two B-flat trumpets, French horn, trombone, and tuba. Featuring three Gershwin compositions, 'Love Is Here to Stay,? 'Embraceable You,? and 'I Got Rhythm.? / Ensemble De Jazz

Brass quintet instrumentation is two B-flat trumpets, French horn, trombone, and tuba. Featuring three Gershwin compositions, 'Love Is Here to Stay,? 'Embraceable You,? and 'I Got Rhythm.? (6:26) / Ensemble De Jazz

Par NIELSEN. Carl Nielsen's Wind Quintet Op. 43 (1922) for Flute, Oboe, Clarinet, French Horn and Bassoon. Parts available: WH30739A / Rép Classique / Répertoire / Conducteur

Brass quintet instrumentation is two B-flat trumpets, French horn, trombone, and tuba. Featuring three Porter compositions, 'Night and Day,? 'I've Got You Under My Skin,? and 'I Love You.? Each piece can be performed individually or as a medley. Designed for jazz or legit players. (7:02) / Ensemble De Jazz

Par HOSAY JAMES L.. Now your band can boldly go where no band has gone before, and bring the “final frontier” to your concert band stage! Here’s James L. Hosay’s imaginative new tone poem SPACE PROBE. Since the 1970's, NASA has been launching long-range, solar-powered probes into space. Over the past 30 years, the Voyager, Pioneer, and Galileo series’ probes have sent back incredible photographs. The data sent to Earth by these probes, along with recent photos and information gathered by the orbital telescope, Hubble, has helped astronomers chart the ever-expanding universe all the way back to its origins. This composition provides excellent opportunities for cross-curriculum teaching withscience. A scintillating musical spacescape ushers in the bold thematic statement in the Trumpets and Alto Saxophones. French Horns join in thrilling variation. A boundless contrasting espressivo theme soars through to the reprise of the initial ideas. Explore SPACE PROBE with your band this year. Inspiring! / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie

Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre

A colourful piece culminating in an exciting sea battle between the English and the French at the time of Henry VIII / Ensemble A Cordes

A colourful piece culminating in an exciting sea battle between the English and the French at the time of Henry VIII. / Ensemble A Cordes