Versuch eines Requiems. Par HARTMANN KARL AMADEUS. Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. / Date parution : 1965-11-20/ Répertoire / Voix d'Alto et Orchestre

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Par SCHUBERT FRANZ. Octet in F major Op. post. 166 D 803 for Clarinet (in B-flat), Bassoon, Horn, Violin (2), Viola, Violincello, Double Bass “I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things, for I have composed two quartets for Violins, Viola and Violincello [A minor, D 804; D minor, D 810] and an octet [F major, D 803] and will write yet another quartet [not carried out]. Indeed, in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] . . . I too am inclined to give a similar concert next Year, God willing. ” Thus Schubert, writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome, in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony – by which he doubtless meant the genre as a whole rather than any specific work – he wrote string quartets and a large-scale piece of chamber music for strings and winds, taking Beethoven as his guide. Urtext of the New Schubert Edition Parts (BA5617) and study score format 22. 5 x 16. 5cm (TP302) available for sale/ Répertoire / Clarinette, Basson, Cor, 2 Violons, Viole, Violonc

Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an invitation from New York Philharmonic Music Director Kurt Masur asking me to contribute a musical message for the coming millennium. Maestro Masur's letter read 'My dream would be to have you provide us with a work lasting from 10 to 15 minutes that could both stand on its own or perhaps be combined with musical messages with other composers which we might compile for a full evening's concert.' I welcomed the opportunity to bring one of six unique perspectives to this collective exploration of the meanings of the new millennium, and it is my hope that the Multi-Arts Production Fund will chose to support the New York Philharmonic's 'Messages for the Millennium' project. My Millennium Message, Fraternité, Air for Orchestra, can best be described as a quiet and placid work in which all the instruments of the orchestra are as one ... and sing in praise of harmony and peace. - Hans Werner Henze/ Répertoire / Orchestre

for Large Ensemble. Par BORBOUDAKIS MINAS. Z-4383 by Minas Borboudakis is a 12-minute work for large ensemble (1(=Picc).1.1(=BCl).1 – 1.1.1(=BTbn).0 – 2Perc – Acdn – Pf – Str(1.1.1.1.1 or String Orchestra) – Electronics). It describes the journey of the wagon of the same name in which the body of the politician and pacifist Grigoris Lambrakis, also called 'Z', who was murdered in 1963, was transported from Thessaloniki to Athens. In the scene from the cult novel Z by Vassilis Vassilikos, the author lets the soul of Grigoris Lammbrakis fly over the train. Train noises, distorted fragments of speech, as well as lines rising ever higher unfold in the music. Sequences expressing pain, longing, hope and despair return as wordless instrumental quotations, attempting to portray the unspeakable before the soul leaves the body at the work's conclusion. The world premiere took place on 20 July 2018 with the Academy of the Bavarian Radio Symphony Orchestra conducted by Daniel Carter. The score (EP 14315) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre

As seen in the mind-boggling Trans-Siberian stage show! This thought-provoking medley of Christmas tunes describes a lone cellist playing Christmas carols in the midst of the Bosnian war. The piece reflects the power, drama, and hope of a single musician in the midst of war, reflecting on the power of music to bring hope. The rock rhythm section contributes to an intense and very hip musical experience. Optional parts for electric guitar or electric violin can be used to add interest to the performance. This arrangement includes parts appropriate for a community or professional orchestra. The bowings are those that would be expected by professional players. Instrumentation: Full orchestra, timpani (B-E), drum set, opt. electric guitar, opt. electric violin, opt. piano, opt. electric bass. (3:10) / Orchestre

Par VAN DER ROOST JAN. A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it. There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town. This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Orchestre

In the final days of November, as the nights grew longer and the vicious North winds began to pound the embattled city, the kingdom was rapidly nearing its darkest hour. As enemy forces threatened from every side, the exhausted council gathered in the great hall for one final desperate meeting. With all hope waning, with all other options exhausted, and with one last chance to save his people, the king summoned all remaining forces and invoked The Seventh Resolution. A contemporary bold work! (4:30) / Orchestre D'Harmonie

Par WILLIAMS JOHN. John Williams (8 février 1932) a composé certaines des musiques de film les plus populaires, reconnaissables et acclamées par la critique de l?histoire du cinéma. Williams a remporté 25 Grammy Awards, cinq Oscars, sept British Academy Film Awards et quatre Golden Globe Awards. Avec 53 nominations aux Oscars, il est le deuxième individu le plus nominé, après Walt Disney. Ses compositions sont considérées comme la quintessence de la musique de film et il est considéré comme l?un des plus grands compositeurs de l?histoire du cinéma. Son travail a influencé de nombreux autres compositeurs de musique de film, populaire et classique contemporaine. En 2005, l?American Film Institute a sélectionné la partition de Williams pour Star Wars de 1977 comme la plus grande musique de film de tous les temps. Dans cet arrangement récemment révisé de 1986, l?arrangeur Johan de Meij a utilisé des thèmes Star Wars ? A New Hope en The Empire Strikes Back. / Date parution : 2023-10-31/ Répertoire / Concert Band/Harmonie

Par ADES THOMAS. This piece takes its title from a painting by Daniel Maclise (1806-1870) in the Manchester City Art Gallery. Its subject is the mock Celtic Legend of a water nymph who falls for a mortal and struggles hopelessly to leave her element and join him on land. The Gods, taking pity on her failure, intervene and turn her into a harp, transforming her weeping into a gentle music of wind through strings./ Répertoire / Conducteur

Par MCHUGH JIMMY. 'I'm in the Mood for Love' is today a 'standard' song released in 1935. The music was written by Jimmy McHugh, with lyrics by Dorothy Fields. The song was introduced by Frances Langford in the film 'Every Night at Eight' and released that year. It became Langford's signature song. Bob Hope, who often worked with Langford entertaining troops in World War II, later wrote that her performance of the song was often the show-stopper. This is one of the most recorded songs out there, from contemporary Billy Eilish to legends such as Luis Armstrong, Vera Lynn and Charlie Parker. The tune started as film music and has later been used in movies such as 'The Nutty Professor' and in “The Spike Jones Show”. Please try to create a 'ballroom' atmosphere around this song. It is possible to expand the solo part with more soloists (45 – 69) and you can choose whether you want to let everyone in part 3 play what is written, or let each one improvise. If you have piano or guitar, you can also let the bass line go together with them and cut out the wind parts. Use the score as a starting point to create an instrumentation that suits your ensemble! (Should some parts only be played by woodwind or brass?) There are quite a few additional notes in the chords. Therefore, balance is very important. Do not let 9ths or other dissonant notes stick out but let them melt into the harmony. / Date parution : 2023-07-31/ Répertoire / Ensemble Flexible à 5 Parties

Beginning with an unresolved emotion and motive, 'Finding a Way' travels through many emotions looking for a way to find resolution and comfort, conveying an uplifting and hopeful spirit that ultimately finds peace. When healing has had a chance to occur, sadness and sorrow can become replaced with delight and excitement of our memories. The piece concludes with a restatement of the opening, questioning motive, but this time with the question answered. (4:15) / Concert Band

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie