Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is light, effervescent, and devoid of conflict or disharmony. Anderson looked upon the piece as a modern-day American revival -- or revitalization -- of the Viennese waltz tradition. Having said that, the main theme sounds rather unlike a Strauss waltz, but the voice of Tchaikovsky is evident in its playful, fantasy-like character. The melody is rhythmic and comes in short groups of notes, beginning with two notes, then three, then expanding further; the music skates along elegantly. The middle section features a delightful variation on the theme, in which Anderson\'s gentle-belled sonorities impart a playful innocence. This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band

Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion, ” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together. ” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals. ” His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury, ” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep, ” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In the second movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world. ” Orc is fed at Enitharmon’s breast, which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race. The Web, third movement of The Book of Urizen is now available: DHP 1125252 / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

This authoritative edition presents full-score reproductions of three of Liszt?s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer?s unpublished choral setting of Joseph Autran?s poem ?The Four Elements?, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo?s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: ?He runs, he flies, he falls, and he stands up king!? Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement ?transformation of themes,? an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt?s expanding chromaticism would be no less influential, anticipating the twentieth century?s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.

Op. 89. Par BRAHMS JOHANNES. The Three Fates or Parcae were the goddesses of fate in Greek-Roman mythology and sang on themes of curse and fate. The Parzenlied in Goethe?s verse drama ?Iphigenie auf Tauris? is concerned with these themes and became the model for Johannes Brahms?s setting. His Gesang der Parzen (Song of the Fates) op. 89 describes in thrilling eruptive sounds the fight to overcome the mythical curse through the purity of truthful noble actions and the power of hope.With a duration of around 12 minutes the work can be combined with Brahms?s ?German Requiem? in concert. / Date parution : 2023-03-11/ Répertoire / SAATBB et Orchestre

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

Music from the last movement of the Ninth Symphony. Par BEETHOVEN LUDWIG VAN. The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823. In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. The score of this offical anthem is exclusively available from the Schott publishing house./ Répertoire / Concert Band/Harmonie

Trois poèmes d'Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb, conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choir and an orchestra similar to that of the Symphony of Psalms, though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first, and only then did he choose the three poems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat, with its onomatopoeic invented words, dates form the 1920s- the other two texts, which are more philosophic than pictorial, form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will be more useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony, which brass sforzandi punctuate with increasing frequency, frames the beginning and end of Pensées. After the choir's first unaccompanied passage, the woodwind have a staccato section over which the female voices, singing downward glissandi, are superimposed ('Ombre de mondes infimes?'). Then the woodwind and both pianos join in a lapping ostinato which illustrates the text of the next forte choir entry 'Pensées à la nage merveilleuse?' The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of a gamelan-like ensemble of vibraphone, céleste, harp and pianos. / Orchestre

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

Best remembered for his extraordinary advancement of Piano technique, Franz Liszt saw himself in quite a different light: as an innovative composer prepared to move beyond convention into uncharted waters. He and Richard Wagner were allies in Zukunftsmusik, the 'music of the future,' a new approach that was liberated from all prescribed rules of musical form. Liszt invented the tone poem, and this work is his most famous example. Inspired by Goethe's great verse drama, A Faust Symphony premiered in 1857. The three-movement work musically depicts the essence of Faust, Gretchen, and Mephistopheles, the characters who drive Goethe's tale. Brilliantly innovative and endlessly fascinating in its transformations of thematic materials, the work has influenced many major composers, including Strauss and Debussy, and remains frequently studied, performed, and recorded. This affordable edition was reproduced from an authoritative text and features an informative Introduction by a renowned expert on Liszt . / Orchestre

Par CURNOW JAMES. Feature the section that “delivers the energy” in this great new arrangement by James Curnow. Based on a French folk song that tells a story about three young drummer boys, the music uses imitation, question and answer and stylistic rhythmic figures to challenge these proud musicians. While featuring the Percussion section, there are also great parts for everyone else, so the entire group will stay engaged and productive in rehearsal. Spirited! / Niveau : 1.5 / Musique légère originale / Répertoire / Percussions et Concert Band ou Harmonie

The Three Peaks - Die 3 Zinnen. Par DOSS THOMAS. The Three Peaks (Italian: Tre Cime di Lavaredo) are a prominent massif in the Dolomites on the border between the Italian provinces of Belluno in the south and South Tyrol in the north. The imposing rock formations formed over 200 million years ago and represent one of the most recognizable landmarks of the Dolomites and South Tyrol (I). Due to their exceptional beauty, the Dolomites with the Three Peaks are dignified as a UNESCO World Heritage Site since 2009. The ?call? of the Three Peaks attracts numerous visitors every year, who will experience an unforgettable and impressive spectacle of changing colors from cool gray to glowing red. The Three Peaks tower over the eventful contemporary history of Tyrol and South Tyrol like stone guardians. / Date parution : 2022-11-29/ Répertoire / Concert Band/Harmonie

Opera in three acts. Par JANACEK LEOS. Leos Janacek began composing his seventh opera, 'The Cunning Little Vixen', based on the popular feuilletons of Rudolf Tesnohlidek, in January 1922. The first copy of the score, was completed by Vaclav Sedlacek in October 1923 but is now lost, while the second copy was prepared by Jaroslav Kulhanek in January 1924. The world premiere took place on 6 November 1924 under the direction of Ota Zitek and was conducted by Frantisek Neumann. The vocal score was published in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right. This volume of the complete edition reprints the critical edition by Jiri Zahradka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). The edition draws on all extant sources and - in consideration of Janacek's active participation in rehearsals for the premiere production - integrates both the dynamics of Frantisek Neumann and the performance markings of Sir Charles Mackerras into the musical text./ Répertoire / Chant et Orchestre

Arr. Stephen Bulla. Par SCHUMANN ROBERT. Robert Schumann’s interest in Music Education was demonstrated in his collection, An Album For The Young. This delightful series included The Stranger, Nordic Song, and Soldier’s March, three wonderful solos that are now classics for young piano students. Stephen Bulla’s marvelous transcription of these three melodies for young band, THE SCHUMANN SUITE, is a perfect change of pace. / Niveau : 1.5 / Répertoire / Concert Band ou Harmonie

Five-part arrangements for junior string ensembles. Par IGUDESMAN ALEKSEY. Strings of the World 2 is challenging step up from the first volume (UE 38057) which was for beginners. This new volume introduces lively pieces in Aleksey Igudesman’s inimitable style that will stretch intermediate young players. Parts are also provided for the less advanced and the pieces can be performed with any combination of the two. First is Aleksey’s arrangement of “La Cucaracha”, whose familiarity will help players tackle the fast rhythms. Then we have three of his own compositions. “In the Woods” is a pastoral piece with brief opportunities for solos. “Los Dos Fillipinos” introduces the fun techniques of col legno and foot stamping before “Morrison’s Jig” returns us to the safer ground of music inspired by Irish folk music. All the parts are available as a free, unlimited download. / Date parution : 2022-11-15/ Recueil / Ensemble de Cordes

with optional combinations of instruments - mit variabler Besetzung. The volumes of the Ad libitum series contain duos, trios and quartets of easy, medium and advanced levels of difficulty, which are playable with various combinations of instruments. Ad libitum Family Edition volumes are recommended mainly for families or groups of friends where at least three people play an instrument. Each of the pieces included can be performed using flexible instrumentation, whether there are three, four or even five persons who would like to play together. This volume contains the finest of easily playable pieces for Christmas and Advent. Some can include a singer, so that a vocal part appears with the instrumental ones. At least two melodic and one accompanying instruments are required to perform the pieces Part I - violin / descant recorder / flute / oboe / clarinet / soprano saxophone / trumpet Part II - violin / treble recorder / clarinet / trumpet Accompaniment- piano / guitarAny of the following optional parts can be added Voice (ad libitum) Percussion (ad libitum) Bass (ad libitum)- cello / bassoon / euphonium/ Recueil / Ensemble