Introduction Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000587-140 Composed by Torste...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000587-140
Composed by Torstein
Aagaard-Nilsen. Score
Only. 16 pages. Gobelin
Music Publications #GOB
000587-140. Published by
Gobelin Music
Publications
(BT.GOB-000587-140).
The composer: A
short concert-opener
where I use Norwegian
folk-tunes. I wanted
to create a short musical
picture of the Vikings
running from the seashore
towards some people they
wanted to fight down.
They used to drink
something made of
mushrooms and became very
wild. They didn¬?t
feel any pain, they
didn¬?t feel any
fear. They where
called the Berserkings!
Ze voelden geen
pijn en kenden geen
angst... de Vikingen! Na
het drinken van een
speciale drank van
paddenstoelen konden ze
de hele wereld aan.
Fraaie Noorse
volksmelodieën
gebruikend, schetst
Aagaard-Nilsen het
hero?sche beeld
vanaanvallende Vikingen.
Klaar om de kust te
bestormen...
Introduction Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000587-010 Composed by Torste...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000587-010
Composed by Torstein
Aagaard-Nilsen. Set
(Score & Parts). 81
pages. Gobelin Music
Publications #GOB
000587-010. Published by
Gobelin Music
Publications
(BT.GOB-000587-010).
The composer: A
short concert-opener
where I use Norwegian
folk-tunes. I wanted
to create a short musical
picture of the Vikings
running from the seashore
towards some people they
wanted to fight down.
They used to drink
something made of
mushrooms and became very
wild. They didn¬?t
feel any pain, they
didn¬?t feel any
fear. They where
called the Berserkings!
Ze voelden geen
pijn en kenden geen
angst... de Vikingen! Na
het drinken van een
speciale drank van
paddenstoelen konden ze
de hele wereld aan.
Fraaie Noorse
volksmelodieën
gebruikend, schetst
Aagaard-Nilsen het
hero?sche beeld
vanaanvallende Vikingen.
Klaar om de kust te
bestormen...
MacArthur Park Orchestre d'harmonie [Conducteur] - Facile Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-142-140 Arranged by Philip Sp...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-142-140
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Score Only.
Composed 2005. 28 pages.
Anglo Music Press #AMP
142-140. Published by
Anglo Music Press
(BT.AMP-142-140).
9x12
inches.
Over a
period of four decades
Jimmy Webb (b. 1946) has
written hits for a number
of singers including Glen
Campbell, Art Garfunkel,
Frank Sinatra, Willie
Nelson, Johnny Cash and
Linda Ronstadt. His songs
are often epic in
character and include By
the Time I Get to
Phoenix; Up, Up and Away;
Didn’t We; Wichita
Lineman and Galveston.
MacArthur Park (1968) was
unlike anything that had
gone before it. Running
at over 7 minutes, it is
2 or 3 times the length
of most pop songs and has
an extended orchestral
interlude. Richard
Harris’ seminal
recording topped the
music charts in Europe,
while peaking at number
two on the U.S. charts.
Philip Sparke has made
this excellentarrangement
for concert band, which
is sure to become a
regular feature on your
concert programme.
MacArthur
Park van Jimmy Webb,
een nummer dat uitkwam in
1968, was niet te
vergelijken met alles wat
daarvoor was gemaakt. Met
een duur van meer dan
zeven minuten is deze
song twee of drie keer zo
lang als de meeste
popsongs,ook het
orkestraal tussenspel is
bijzonder. Richard
Harris’ originele
opname stond bovenaan in
de hitparades van Europa
en op nummer 2 in de
Verenigde Staten. Philip
Sparke schreef een
fantastisch arrangement
dat zowel uw
muzikantenals uw publiek
zal
aanspreken.
Jimmy
Webbs Musik kennt jeder:
sei es als Musik zur
Fernsehserie Emergency
Room oder als einen
der Hits von großen
Stars wie Frank Sinatra,
Johnny Cash, Linda
Ronstadt und vielen
anderen. Mit dem Popsong
MacArthur Park
gelang Webb ein Riesenhit
im Jahr 1968. Das Lied
über eine verlorene
Liebe ist ungewöhnlich
lang für einen Popsong
und enthält ein
ausgearbeitetes
Orchester-Zwischenspiel.
Grund genug für Philip
Sparke, diesen Hit für
Blasorchester zu
bearbeiten.
Pe
r oltre quarant’
anni, Jimmy Webb (1946)
ha composto canzoni di
successo per artisti come
Glen Campbell, Art
Garfunkel, Frank Sinatra,
Willie Nelson, Johnny
Cash e Linda Ronstadt.
Nel 1968, scrive
MacArthur Park,
una canzone totalmente
innovativa. Di una durata
di oltre sette minuti,
è da due a tre volte
più lunga della
maggior parte dei
successi pop e contiene
un interludio
orchestrale. La versione
d’antologia di
MacArthur Park,
interpretata ed incisa da
Richard Harris, è
stata in testa alle
hit-parade europee e
seconda negli Stati
Uniti.
Who Knows? Orchestre d'harmonie - Intermédiaire Molenaar Edition
Concert Band - Grade 4 SKU: ML.013758070 Composed by Eduardo M. Brito. Fu...(+)
Concert Band - Grade 4
SKU: ML.013758070
Composed by Eduardo M.
Brito. Full set. Molenaar
Edition #013758070.
Published by Molenaar
Edition (ML.013758070).
Originally
written in 2017 for
'Banda Orquestral de
Câmara de Lobos 'Os
Infantes'', this
composition is now
published here for
Concert Band, arranged
and revised by the author
himself. With a Swinged
Funk Style, this piece
present us with a neat
and cool groove that will
put your light musical
habilities to the test.
When asked about the
title of the piece for
the first time, the
author who at the time
still didn't thought
about it yet, replied
'Who knows?'. And the
name
stuck!
Oorspronkel
ijk geschreven in 2017
voor 'Banda Orquestral de
Câmara de Lobos 'Os
Infantes'', is deze
compositie nu hier
gepubliceerd voor Concert
Band, gearrangeerd en
herzien door de auteur
zelf. Met een Swinged
Funk-stijl presenteert
dit stuk ons een nette en
coole groove die je
lichte muzikale
vaardigheden op de proef
zal stellen. Toen de
auteur, die er toen nog
niet over nadacht, voor
het eerst naar de titel
van het stuk werd
gevraagd, antwoordde hij
' Who knows?'. En de naam
bleef
hangen!
Originelle
ment écrite en 2017 pour
la 'Banda Orquestral de
Câmara de Lobos 'Os
Infantes'', cette
composition est
maintenant publiée ici
pour Orchestre
d'Harmonie, arrangée et
révisée par l'auteur
lui-même. Avec un style
Swinged Funk, ce morceau
nous présente un groove
soigné et cool qui
mettra à l'épreuve vos
capacités musicales
légères. Lorsqu'on lui
a demandé pour la
première fois quel
était le titre de cette
pièce, l'auteur, qui à
l'époque n'y avait pas
encore réfléchi, a
répondu: ' Who knows ?
Et le nom est resté
!
Ursprünglich im
Jahr 2017 für die 'Banda
Orquestral de Câmara de
Lobos 'Os Infantes''
geschrieben, wird diese
Komposition nun hier für
Concert Band
veröffentlicht,
arrangiert und
überarbeitet vom Autor
selbst. Mit einem Swinged
Funk Style präsentiert
uns dieses Stück einen
ordentlichen und coolen
Groove, der Ihre leichten
musikalischen
Fähigkeiten auf die
Probe stellen wird. Als
der Autor zum ersten Mal
nach dem Titel des
Stückes gefragt wurde,
antwortete er, der damals
noch nicht darüber
nachdachte, ' Who
knows?'. Und der Name
blieb hängen!
Eldorado Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1206260-140 Composed by Thi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1206260-140
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2020. 39
pages. De Haske
Publications #DHP
1206260-140. Published by
De Haske Publications
(BT.DHP-1206260-140).
English-German-French-
Dutch.
The myth of
El Dorado (“the
golden oneâ€) stems
from the story of a
powerful chief who used
to cover himself with
gold dust before bathing
in a sacred lake where he
threw precious objects as
offerings to the gods.
The myth was soon relayed
to the Spanish
conquistadors and
inspired many
expeditions, although the
invaders didn’t
bring back nearly as much
gold as they expected, if
any at all.
Eldorado is a
mysterious and dynamic
work that illustrates the
myth of the golden man
and the European
expeditions that
followed. With a touch of
exotic influences, the
music is varied and rich.
This piece was
commissioned by the
French Cultural
Association Lille 3000 as
part of
theirEldorado-themed
festival in 2019.
De mythe van El
Dorado (de man van goud)
is het verhaal van een
machtig opperhoofd die
zichzelf met goudpoeder
bedekte voordat hij ging
baden in een heilig meer
waar hij ook kostbare
voorwerpen aan de goden
offerde. Deze mythe werd
al snel bekend bij de
Spaanse conquistadores en
vormde de aanzet tot vele
expedities, hoewel de
veroveraars niet met
grote hoeveelheden goud
terugkwamen, zoals ze
hadden gehoopt.
Eldorado is een
mysterieus, dynamisch
werk dat het verhaal van
de gouden man verklankt,
alsmede de Europese
expedities die op touw
werden gezet. Met een
vleugje exotische
invloeden is de muziek
gevarieerd en rijk aan
schakeringen. Het werk
werd geschreven in
opdrachtvan de Franse
culturele organisatie
Lille 3000 als onderdeel
van het thematische
programma Eldorado in
2019.
Der Mythos
von El Dorado (der
Goldene“) handelt
von einem mächtigen
Herrscher, der sich vor
dem Baden in einem
heiligen See mit
Goldstaub bedeckte und
als Opfergaben an die
Götter kostbare
Gegenstände in den See
warf. Der Mythos sprach
sich bald bei den
spanischen Eroberern
herum und war der Grund
für zahlreiche
Expeditionen doch sie
fanden nicht annähernd
so viel Gold, wie sie
erhofft hatten.
Eldorado ist ein
geheimnisvolles und
dynamisches Werk, das den
Mythos des goldenen
Mannes“ und die
daraus resultierenden
Expeditionen der
Europäer darstellt.
Durch ethnische
Anklänge ist die Musik
sehr abwechslungsreich.
Dieses Stück wurde vom
französischen
Kulturverein Lille3000
für den
Themenschwerpunkt
Eldorado“ im Jahr
2019 in Auftrag gegeben.
Eldorado Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1206260-010 Composed by Thi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1206260-010
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2020.
De Haske Publications
#DHP 1206260-010.
Published by De Haske
Publications
(BT.DHP-1206260-010).
English-German-French-
Dutch.
The myth of
El Dorado (“the
golden oneâ€) stems
from the story of a
powerful chief who used
to cover himself with
gold dust before bathing
in a sacred lake where he
threw precious objects as
offerings to the gods.
The myth was soon relayed
to the Spanish
conquistadors and
inspired many
expeditions, although the
invaders didn’t
bring back nearly as much
gold as they expected, if
any at all.
Eldorado is a
mysterious and dynamic
work that illustrates the
myth of the golden man
and the European
expeditions that
followed. With a touch of
exotic influences, the
music is varied and rich.
This piece was
commissioned by the
French Cultural
Association Lille 3000 as
part of
theirEldorado-themed
festival in 2019.
De mythe van El
Dorado (de man van goud)
is het verhaal van een
machtig opperhoofd die
zichzelf met goudpoeder
bedekte voordat hij ging
baden in een heilig meer
waar hij ook kostbare
voorwerpen aan de goden
offerde. Deze mythe werd
al snel bekend bij de
Spaanse conquistadores en
vormde de aanzet tot vele
expedities, hoewel de
veroveraars niet met
grote hoeveelheden goud
terugkwamen, zoals ze
hadden gehoopt.
Eldorado is een
mysterieus, dynamisch
werk dat het verhaal van
de gouden man verklankt,
alsmede de Europese
expedities die op touw
werden gezet. Met een
vleugje exotische
invloeden is de muziek
gevarieerd en rijk aan
schakeringen. Het werk
werd geschreven in
opdrachtvan de Franse
culturele organisatie
Lille 3000 als onderdeel
van het thematische
programma Eldorado in
2019.
Der Mythos
von El Dorado (der
Goldene“) handelt
von einem mächtigen
Herrscher, der sich vor
dem Baden in einem
heiligen See mit
Goldstaub bedeckte und
als Opfergaben an die
Götter kostbare
Gegenstände in den See
warf. Der Mythos sprach
sich bald bei den
spanischen Eroberern
herum und war der Grund
für zahlreiche
Expeditionen doch sie
fanden nicht annähernd
so viel Gold, wie sie
erhofft hatten.
Eldorado ist ein
geheimnisvolles und
dynamisches Werk, das den
Mythos des goldenen
Mannes“ und die
daraus resultierenden
Expeditionen der
Europäer darstellt.
Durch ethnische
Anklänge ist die Musik
sehr abwechslungsreich.
Dieses Stück wurde vom
französischen
Kulturverein Lille3000
für den
Themenschwerpunkt
Eldorado“ im Jahr
2019 in Auftrag gegeben.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Eldorado Orchestre d'harmonie De Haske Publications
Concert Band (SCORE) - Level 3.5 SKU: HL.4006573 Composed by Thierry Dele...(+)
Concert Band (SCORE) -
Level 3.5
SKU:
HL.4006573
Composed
by Thierry Deleruyelle.
De Haske Concert Band.
Concert. Softcover.
Duration 495 seconds. De
Haske Publications
#032613. Published by De
Haske Publications
(HL.4006573).
UPC:
840126915099.
The
myth of El Dorado
(“The Golden
Oneâ€) stems from
the story of a powerful
chief who used to cover
himself with gold dust
before bathing in a
sacred lake where he
threw precious objects as
offerings to the gods.
The myth was soon relayed
to the Spanish
conquistadors and
inspired many
expeditions, although the
invaders didn't bring
back nearly as much gold
as they expected, if any
at all. Eldorado is a
mysterious and dynamic
work that illustrates the
myth of the golden man
and the European
expeditions that
followed. With a touch of
exotic influences, the
music is varied and rich.
This piece was
commissioned by the
French Cultural
Association Lille 3000 as
part of their
Eldorado-themed festival
in 2019.
A Tribute to Harry James Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Arranged by Sammy Nestico. (Score & Parts). Score and full set of parts. Hal Hal...(+)
Arranged by Sammy
Nestico. (Score & Parts).
Score and full set of
parts. Hal Hal Leonard
Concert Band Series.
Grade 4. Size 9x12
inches. Published by Hal
Leonard.
Eldorado Orchestre d'harmonie De Haske Publications
Concert Band (SCORE+PARTS) - Level 3.5 SKU: HL.4006572 Composed by Thierr...(+)
Concert Band
(SCORE+PARTS) - Level 3.5
SKU: HL.4006572
Composed by Thierry
Deleruyelle. De Haske
Concert Band. Concert.
Softcover. Duration 620
seconds. De Haske
Publications #032613.
Published by De Haske
Publications
(HL.4006572).
UPC:
840126915082. 9.0x12.0
inches.
The myth of
El Dorado (“The
Golden Oneâ€) stems
from the story of a
powerful chief who used
to cover himself with
gold dust before bathing
in a sacred lake where he
threw precious objects as
offerings to the gods.
The myth was soon relayed
to the Spanish
conquistadors and
inspired many
expeditions, although the
invaders didn't bring
back nearly as much gold
as they expected, if any
at all. Eldorado is a
mysterious and dynamic
work that illustrates the
myth of the golden man
and the European
expeditions that
followed. With a touch of
exotic influences, the
music is varied and rich.
This piece was
commissioned by the
French Cultural
Association Lille 3000 as
part of their
Eldorado-themed festival
in 2019.
For
Euphonium and Concert
Band Solo Spectrum
Series. Composed by
Jan Van der Roost. De
Haske Concert Band.
Concert. Duration 720
seconds. De Haske
Publications #033383.
Published by De Haske
Publications
(HL.4008219).
UPC:
196288139102.
While
composing Serenata, Jan
Van der Roost didn't
focus too much on
virtuosity, acrobatics or
spectacle. Instead, he
wanted to let the solo
instrument shine as a
melodic and expressive
voice. And indeed: the
warm sound of the
euphonium touches the
heart of the audience
straight away in the
first section with a
melodious theme. Then
follows a rigaudon, a
noble and elegant dance
from the Renaissance era.
Despite the fact that
some of the variations on
the main theme require
some technique and
agility, the overall
character mostly remains
songful. The composition
as a whole builds further
on these two musical
ingredients, but thanks
to a clever alternation
of melodic and technical
passages, it offers a
nice stylistic diversity
to the listeners. The
band is definitely not
'just accompanying' but
fully participates and
begins a dialogue with
the soloist: both musical
partners have their say.
The end is more
spectacular and sonorous,
giving an extra boost of
energy to the soloist as
well as the band in a
grand finale!
Concert Band; Concert Band Set (Score) - Grade 4 SKU: HL.4007945 For C...(+)
Concert Band; Concert
Band Set (Score) - Grade
4
SKU: HL.4007945
For Concert Band,
Grade 4, 14:17 Score.
Composed by Otto M.
Schwarz. Concert.
Softcover. Duration 857
seconds. Hal Leonard
#SDP041.21-01. Published
by Hal Leonard
(HL.4007945).
Stories, sagas
and legends--who among us
doesn't know them? Always
delivered with a tinge of
brutality, these
cautionary tales are a
legacy of moral education
from times past:
inquisitive children
alone in the forest are
generally eaten by a
witch; the
“Soup-Kasperâ€
of Hoffmann's
Struwwelpeter dies from
starvation rather than
eating his soup; anyone
letting in strangers
usually gets devoured;
anyone who plays with
matches gets burned; and
thumb-suckers get their
thumbs cut off. The list
of unfortunate demises is
almost endless.In the
tale of The Pied Piper of
Hamelin, parents lose
their children through
greed, ridicule, scorn
and a failure to
appreciate art. There is
still a street in the
town of Hamelin in which
neither drumming nor
playing has not been
allowed since 130
children disappeared into
a mountain, never to be
seen again. This
composition by Otto M.
Schwarz opens with
exactly this scene,
taking us back to the
year 1284. As in many
towns at the time,
Hamelin in Germany
suffered with hygiene
problems--rats and mice
began to multiply
rapidly, and the town was
overrun with the plague.
There appeared a man
dressed in colorful
clothes who promised the
locals to free them from
this burden. They agreed
and settled on a fee.
Then the man pulled out a
pipe and began to play.
When the rats and mice
heard this, they followed
him. He led the animals
into the Weser River,
where they all drowned.
Back in town, the people
refused to pay him. They
didn't recognize this
man's skills and
knowledge and were only
prepared to pay for
simple labour. A pact
with the devil was made,
which led to the Pied
Piper leaving the town in
a furious rage. One
Sunday, when many people
were at church, he
returned, took out his
flute and began to play.
The town's children were
so enchanted by his
playing that they
followed him. He led them
out of the town and
disappeared with them
forever into a mountain.
Of all the children, only
two survived--however one
was mute, and one was
blind. In the street from
which the children left
Hamelin, music may no
longer be played in
memory of this event.
Renegade Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4466-75 Composed by Huckeby. Concert B...(+)
Concert band - Grade 3
SKU:
CL.012-4466-75
Composed by Huckeby.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR389). Oversized,
spiral-bound score.
Composed 2016. Duration 3
minutes, 56 seconds. Opus
III Wind Orchestra
Publications
#012-4466-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4466-75).
This unique
work is a tribute to the
legacy of legendary
humorist, newspaper
columnist, social
commentator, and stage
and motion picture actor
Will Rogers. Although
Rogers never met a man he
didn't like, his wit
earned him a colorful
reputation as a political
renegade and public
favorite. The music
contrasts the serious and
satirical sides of Rogers
and presents your
performing ensemble with
lyrical, rhythmic, and
metrical challenges. This
one has great appeal
which is sure to make it
a favorite of both your
performers and
audiences!
Renegade Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4466-01 Composed by Huckeby. Concert B...(+)
Concert band - Grade 3
SKU:
CL.012-4466-01
Composed by Huckeby.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR389). Extra full
score. Composed 2016.
Duration 3 minutes, 56
seconds. Opus III Wind
Orchestra Publications
#012-4466-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4466-01).
This unique
work is a tribute to the
legacy of legendary
humorist, newspaper
columnist, social
commentator, and stage
and motion picture actor
Will Rogers. Although
Rogers never met a man he
didn’t like, his
wit earned him a colorful
reputation as a political
renegade and public
favorite. The music
contrasts the serious and
satirical sides of Rogers
and presents your
performing ensemble with
lyrical, rhythmic, and
metrical challenges. This
one has great appeal
which is sure to make it
a favorite of both your
performers and
audiences!
For Euphonium and
Concert Band Solo
Spectrum Series.
Composed by Jan Van der
Roost. De Haske Concert
Band. Concert. Duration
720 seconds. De Haske
Publications #033383.
Published by De Haske
Publications
(HL.4008218).
UPC:
196288139096. 9.0x12.0
inches.
While
composing Serenata, Jan
Van der Roost didn't
focus too much on
virtuosity, acrobatics or
spectacle. Instead, he
wanted to let the solo
instrument shine as a
melodic and expressive
voice. And indeed: the
warm sound of the
euphonium touches the
heart of the audience
straight away in the
first section with a
melodious theme. Then
follows a rigaudon, a
noble and elegant dance
from the Renaissance era.
Despite the fact that
some of the variations on
the main theme require
some technique and
agility, the overall
character mostly remains
songful. The composition
as a whole builds further
on these two musical
ingredients, but thanks
to a clever alternation
of melodic and technical
passages, it offers a
nice stylistic diversity
to the listeners. The
band is definitely not
'just accompanying' but
fully participates and
begins a dialogue with
the soloist: both musical
partners have their say.
The end is more
spectacular and sonorous,
giving an extra boost of
energy to the soloist as
well as the band in a
grand finale!
Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-140
Composed by Jan Bosveld.
Score Only. 40 pages.
Gobelin Music
Publications #GOB
000712-140. Published by
Gobelin Music
Publications
(BT.GOB-000712-140).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
Achnaton Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-010
Composed by Jan Bosveld.
Set (Score & Parts). 38
pages. Gobelin Music
Publications #GOB
000712-010. Published by
Gobelin Music
Publications
(BT.GOB-000712-010).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.