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

Par COURT DOUGLAS. In a singing style, this pretty work will be a sparkling and reverent moment in your holiday concert. A superb contrast piece from the pen of Douglas Court, NIGHT OF WONDER engages fascinating harmonic and contrapuntal forces in a truly unique arrangement of WHILE SHEPHERDS WATCHED THEIR FLOCKS. While the wind players get to work on expressive playing, there’s plenty of engaging activity for the percussionists too, so rehearsing this contrast piece won’t pose the problems of “uninvolved personnel” that some expressive pieces can create in young bands. Beautiful music! / Niveau : 2 / Répertoire / Concert Band ou Harmonie

Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Arr. Stephen Bulla. Par DVORAK ANTONIN. This hauntingly beautiful melody is probably the mostfamous to come from the pen of Czech composer, Antonin Dvorák. Stephen Bulla’s transcription of‘Largo’ from the ‘New World Symphony’ will helpyour students focus on expressive playing, and bringgreat delight to all with the soothing nostalgicmelody. / Niveau : 2 / Musique pour célébration / Répertoire / Fanfare

Picture the matador as he waves his red cape and the crowd cheers him on! Distinguished by its Spanish influenced melodies and harmonies, this piece in 4/4 is written in D minor and E minor. Great to develop expressive playing! (3:30) / Orchestre A Cordes

for String Orchestra Score and Parts. Par LONGFIELD ROBERT (Arr.). The Song of the Birds (El cant dels ocells) is a traditional Catalan Christmas carol. It was made famous by Pau (Pablo) Casals, who is considered one of the greatest cellists of all time. He was famous the world over and played for such notables as Queen Victoria, Theodore Roosevelt, and John F. Kennedy. After Casals\' self-exile from Spain in 1939, he would open each concert with the playing of The Song of the Birds. In time, this song became an important symbol of his native Catalonia. The Song of the Birds has multiple stanzas each in the voice of a different type of bird expressing joy in the birth of Jesus Christ. Robert Longfield expresses this beautiful Christmas carol in legato singing lines using 2-3 part writing at Level 2.5. In recognition and honor of Pau Casals, the opening melody of Robert Longfield\'s arrangement is played by the cello section. / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

Par HANNICKEL MIKE. This addition to the Curnow Music Press GREAT FOUNDATIONS SERIES of pre-Grade 1 publications is accessible to young musicians who have been playing for just a few weeks. A simple, repetitive theme with flashy, but very easy percussion writing ensures that you can have THE CHARIOTEERS ready to perform in time for the concert, even if you have “precious little” rehearsal time. The powerful nature of the piece is certain to appeal to young players / Niveau : 0.5 / Répertoire / Educatif

Par SPARKE PHILIP. The Hanover Wind Symphony, New Jersey, USA was founded in 1984 by its conductor Peter Boor. He commissioned HANOVER FESTIVAL to celebrate the band’s 15th Birthday and the first performance took place on October 27th 1999. The piece starts with a solemn brass fanfare. Woodwinds join in and the music subsides into an expressive chorale. A climax is reached and the fanfare returns. Trumpets introduce an explosive vivo section, characterised by an energetic theme from the horns and low clarinets. A bridge passage with strong brass chords leads to a playful section that introduces a legato central theme under woodwind figures. This is taken up by the full band, the playfulmusic returns and the original horn tune is reintroduced. Finally the opening fanfare returns, this time accompanied by music from the vivo section, until a fast and furious coda closes the work. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par KRAUS JOSEPH MARTIN. Joseph Martin Kraus [1756 1792] composed his Requiem in 1775at the age of 19 for the parish church in his hometown of Buchen, Odenwald. This followed the Miserere of 1773, and is the second of his surviving sacred compositions. Already in this early work Kraus shows that he was a representative of the musical ?Sturm und Drang.? With all its youthful unconcern towards compositional technique, this music displays his seriousness and strength of expression, together with a dark instrumental timbre, as well as an abruptness or at times brusqueness. The publication of the Requiem in the Complete Edition is the first historical and critical edition of the work/ Répertoire / Solistes SAB, Ch?ur SATB, 2 Cors, 2 Violons, Alto

Symphonic Etudes. Par SHCHEDRIN RODION. Many of Rodion Shchedrin’s compositions are distinguished by deeply Slavonic feeling and thrilling virtuoso displays. Even though Shchedrin has won recognition all over the world for his work, he remains an essentially Russian composer who has not broken off his ties to Russian musical folk traditions and poetry. It is thus not surprising to learn of his profound admiration for his compatriot Shostakovich (Shchedrin writes: “He is like a God to me.”) The “dialogues” in this one-movement orchestral piece give expression to this admiration; they describe and offer a musical commentary on the character of Shostakovich’s music and of the man himself. / Études et exercices / Répertoire / Orchestre

Par CASABLANCAS BENET. The Seven Haikus, lasting some 8 minutes, were written for the Composers Portrait that closed the author's two-season residency at L’Auditori de Barcelona (2015). The work is inspired by the conciseness and essentiality of theJapanese poetic form, which aspires to capture the epiphanic moment with the immediacy of a calligraphic stroke. The Haikus are compact statements, with an expressive range that belies their miniature timespan. The author conjuresin them a wealth of atmospheres, textures and colors from the ensemble of only six players. For all their reduced scale each piece presents a fully-composed argument. Some are calm, lyrical, others more playful, brilliant andwitty, without excluding the most dramatic or elegiac moods, as in the sixth of the collection, written “In memoriam Maria del Carme Casablancas”./ Répertoire / Flûte, Clarinette, Piano, Violon, Violoncelle et C

Par COURT DOUGLAS. Celebrate the spirit of youth! TAKE CENTER STAGE is a fresh, exciting new offering from Curnow Music Press. The energetic opening and first theme supported by an invigorating rhythmic undercurrent perfectly balance the 'cantabile' middle section. They lead relentlessly to the exhilarating conclusion. As always Douglas Court's music includes enjoyable parts for every player in the band, and this one is right on target for the skills of Grade 3 groups. A delightful opening piece for concert or festival, you may even consider using it with a 'mass band' or at an All-District concert. Bartholomew Consolidated School Corporation annual festival includedabout 800 younginstrumentalists! / Niveau : 3 / Répertoire / Concert Band ou Harmonie

Par JOHNSON TIMOTHY. Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band / Niveau : 2 / Hymnes et chorals / Répertoire / Fanfare

Par JOHNSON TIMOTHY. Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band / Niveau : 2 / Répertoire / Concert Band ou Harmonie

Par JOHNSON TIMOTHY. Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band / Niveau : 2 / Hymnes et chorals / Répertoire / Concert Band ou Harmonie