Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Composed by Claudio Monteverdi (1567-1643). Sacred, Baroque. Choir part. 6 pages. Published by Editions a Coeur Joie (CJ.A110805107).

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1094734-010

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2009. De Haske Publications #DHP 1094734-010. Published by De Haske Publications (BT.DHP-1094734-010).

9x12 inches. English-German-French-Dut ch.

The Stadtmusikkapelle Wilten-Innsbruck (Austria) invited Belgian composer Jan Van der Roost to write a work to mark the bicentenary of the Tyrolean fight for freedom, which was settled in 1809. Various musical elements reflect this historical event. First, a hymn-like section rings out, based on melodic fragments from the ‘Tiroler Landeshymne’ (by Leopold Knebelsberger), which intertwine in a counterpoint-like arrangement. The second passage is more bellicose in character, and mirrors the fight of the Tyroleans - under the inspiring leadership of freedom fighter Andreas Hofer (1767-1810) - against Bavarian, French and Italian troops. Next, a broad, chorale-style melodyappears again: here, the imposing beauty of nature in Tyrol, and the amiable, lively temperament of the people who live in this mountainous region, are glorified.This is neither a programmatic work around an historical reconstruction, nor a politically inspired work: it is a combination of factual and cultural components, with an artistic and sonorous character. The use of the flugelhorn in particular gives Tirol Terra Fortis its ‘couleur locale’: for this beautiful instrument can invariably be found in the Austrian wind band. The commissioning music society had therefore specifically asked the composer to incorporate the instrument in this work. It certainly enhances the already extensive colour palette of the modern concert band!

Een hymne bestaand uit fragmenten van het Tiroolse volkslied. Strijdlustige klanken in het tweede deel. Tot slot een melodie in koraalstijl die de bewoners van Tirol en de indrukwekkende schoonheid van de natuur beschrijft. Hebt ual een idee? Tirol Terra Fortis is een programmatisch werk rondom de geschiedenis van Andreas Hofer en de vrijheidsstrijd van Tirol 200 jaar geleden. De bugel geeft dit kunstzinnige en klankvolle werk zijn bijzondere ‘couleurlocale†™.

Eine Hymne aus Fragmenten der Tiroler Landeshymne, kämpferische Klänge im zweiten Teil und schließlich eine Melodie im Choralstil, welche die eindrucksvolle Schönheit der Natur und die Menschen in Tirol beschreibt. Sie haben es erraten? Tirol Terra Fortis ist ein programmatisches Werk rund um die Geschichte Andreas Hofers und den Freiheitskampf Tirols vor 200 Jahren. Der Einsatz des Flügelhorns verleiht diesem künstlerischen und klangvollen Werk ein besonderes Lokalkolorit.

Le compositeur belge Jan Van der Roost a composé cette œuvre la demande de l’Orchestre d’Harmonie Municipal de Wilten-Innsbruck en Autriche pour les cérémonies commémoratives du bicentenaire de l’insurrection tyrolienne de 1809. Plusieurs éléments musicaux reflètent cet événement historique travers un climat joliment évolutif. L’orchestre énonce un thème hymnique basé sur des fragments mélodiques de l’hymne officiel du Land du Tyrol (ou Hymne d’Andreas Hofer composé par Leopold Knebelsberger) qui se mélangent et se confondent dans un arrangement en forme de contrepoint. Le dessin belliqueux du second mouvement rappelle la lutte des Tyroliens contre les troupesbavaroises, françaises et italiennes, l’instigation du combattant de la liberté Andreas Hofer (1767-1810). Enfin, on retrouve une mélodie de style choral qui évoque avec ferveur l’imposante beauté des paysages du Tyrol, et transmet la chaleur et le caractère jovial des habitants de cette région montagneuse. Tirol Terra Fortis n’est ni une reconstruction historique en musique (autrement dit, une œuvre programme), ni une œuvre politique. Son contenu repose sur une combinaison d’éléments factuels et culturels qui s’expriment travers une trame artistique très expressive. Le bugle a su conserver la fidélité des Orchestres d’Harmonie autrichiens. Intégré dans la texture orchestrale de cette œuvre de commande la demande expresse de la formation dédicataire, le bugle donne une couleur locale la composition et enrichit la large gamme des couleurs sonores de l’Orchestre d’Harmonie.

La Stadtmusikkapelle Wilten-Innsbruck (Austria) ha invitato il compositore belga Jan Van der Roost a scrivere un'opera per celebrare il bicentenario dell’Insorgenza tirolese, che ebbe luogo nel 1809. L'uso del flicorno, in particolare, conferisce al Tirol Terra Fortis il suo colore locale: questo bellissimo strumento si può sempre trovare nelle bande austriache.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1094734-140

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2009. 40 pages. De Haske Publications #DHP 1094734-140. Published by De Haske Publications (BT.DHP-1094734-140).

9x12 inches. English-German-French-Dut ch.

The Stadtmusikkapelle Wilten-Innsbruck (Austria) invited Belgian composer Jan Van der Roost to write a work to mark the bicentenary of the Tyrolean fight for freedom, which was settled in 1809. Various musical elements reflect this historical event. First, a hymn-like section rings out, based on melodic fragments from the ‘Tiroler Landeshymne’ (by Leopold Knebelsberger), which intertwine in a counterpoint-like arrangement. The second passage is more bellicose in character, and mirrors the fight of the Tyroleans - under the inspiring leadership of freedom fighter Andreas Hofer (1767-1810) - against Bavarian, French and Italian troops. Next, a broad, chorale-style melodyappears again: here, the imposing beauty of nature in Tyrol, and the amiable, lively temperament of the people who live in this mountainous region, are glorified.This is neither a programmatic work around an historical reconstruction, nor a politically inspired work: it is a combination of factual and cultural components, with an artistic and sonorous character. The use of the flugelhorn in particular gives Tirol Terra Fortis its ‘couleur locale’: for this beautiful instrument can invariably be found in the Austrian wind band. The commissioning music society had therefore specifically asked the composer to incorporate the instrument in this work. It certainly enhances the already extensive colour palette of the modern concert band!

Een hymne bestaand uit fragmenten van het Tiroolse volkslied. Strijdlustige klanken in het tweede deel. Tot slot een melodie in koraalstijl die de bewoners van Tirol en de indrukwekkende schoonheid van de natuur beschrijft. Hebt ual een idee? Tirol Terra Fortis is een programmatisch werk rondom de geschiedenis van Andreas Hofer en de vrijheidsstrijd van Tirol 200 jaar geleden. De bugel geeft dit kunstzinnige en klankvolle werk zijn bijzondere ‘couleurlocale†™.

Eine Hymne aus Fragmenten der Tiroler Landeshymne, kämpferische Klänge im zweiten Teil und schließlich eine Melodie im Choralstil, welche die eindrucksvolle Schönheit der Natur und die Menschen in Tirol beschreibt. Sie haben es erraten? Tirol Terra Fortis ist ein programmatisches Werk rund um die Geschichte Andreas Hofers und den Freiheitskampf Tirols vor 200 Jahren. Der Einsatz des Flügelhorns verleiht diesem künstlerischen und klangvollen Werk ein besonderes Lokalkolorit.

Le compositeur belge Jan Van der Roost a composé cette œuvre la demande de l’Orchestre d’Harmonie Municipal de Wilten-Innsbruck en Autriche pour les cérémonies commémoratives du bicentenaire de l’insurrection tyrolienne de 1809. Plusieurs éléments musicaux reflètent cet événement historique travers un climat joliment évolutif. L’orchestre énonce un thème hymnique basé sur des fragments mélodiques de l’hymne officiel du Land du Tyrol (ou Hymne d’Andreas Hofer composé par Leopold Knebelsberger) qui se mélangent et se confondent dans un arrangement en forme de contrepoint. Le dessin belliqueux du second mouvement rappelle la lutte des Tyroliens contre les troupesbavaroises, françaises et italiennes, l’instigation du combattant de la liberté Andreas Hofer (1767-1810). Enfin, on retrouve une mélodie de style choral qui évoque avec ferveur l’imposante beauté des paysages du Tyrol, et transmet la chaleur et le caractère jovial des habitants de cette région montagneuse. Tirol Terra Fortis n’est ni une reconstruction historique en musique (autrement dit, une œuvre programme), ni une œuvre politique. Son contenu repose sur une combinaison d’éléments factuels et culturels qui s’expriment travers une trame artistique très expressive. Le bugle a su conserver la fidélité des Orchestres d’Harmonie autrichiens. Intégré dans la texture orchestrale de cette œuvre de commande la demande expresse de la formation dédicataire, le bugle donne une couleur locale la composition et enrichit la large gamme des couleurs sonores de l’Orchestre d’Harmonie.

La Stadtmusikkapelle Wilten-Innsbruck (Austria) ha invitato il compositore belga Jan Van der Roost a scrivere un'opera per celebrare il bicentenario dell’Insorgenza tirolese, che ebbe luogo nel 1809. L'uso del flicorno, in particolare, conferisce al Tirol Terra Fortis il suo colore locale: questo bellissimo strumento si può sempre trovare nelle bande austriache.

Voice, Mezzo-Soprano and Orchestra

SKU: HL.14030960

Composed by Bent Sorensen. Music Sales America. Classical. Score. 78 pages. Music Sales #KP01442. Published by Music Sales (HL.14030960).

ISBN 9788759889480. Danish.

Intermezzi from the opera Under Himlen was composed by Bent Sorensen in 2003. Scored for 2 Mezzosoparanos and Orchestra. Text by Peter Asmussen. Programme Note: In March 2003, when the Royal Theatre premiered the composer Bent Sorensen's and the dramatist Peter Asmussen's opera Under the Sky, it was not only Bent Sorensen's first opera on the large scale, but also his first work as a music dramatist at all. The challenge of composing an opera came from the general manager of the Danish National Symphony Orchestra/DR, Per Erik Veng, who had asked Asmussen in 1996 whether he would write the libretto for an opera and pick out a composer to work with on it. Asmussen was willing, and he pointed to Bent Sorensen as the composer. Bent Sorensen reacted positively to Per Erik Veng's suggestion of an opera collaboration with Asmussen, and with the opera agreement settled, the Danish National Symphony Orchestra/DR was then offered an independent work. It is related to the opera, but sheds light on it from a different angle - Bent Sorensen himself compares it to a film 'trailer'. The result is Intermezzi, a suite in five movements. Intermezzi is expressly not just a garland of selected episodes from the opera, but an independent work built up in one long symmetrical sequence with instrumental passages in the middle of the first, third and fifth movements as well as the purely instrumental second and fourth movements, as the bearing pillars of the work. Fragments of the story of Ida and Molte (both mezzo-sopranos) are told, but they do not happen in the same order or with the same conclusion as in the opera. In this way Intermezzi becomes a comment on how not everything in the past is necessarily what it seems, or what one at first makes of it. In the first movement Ida sings to Magius that she is carrying Molte's child, while from afar Molte observes the idyllic world from the outside. The second movement is instrumental, while the third begins with Ida's love aria, which merges into a great instrumental passage before the movement ends with Molte's cynical remark that Ida is simply a fairytale, a book one closes. After a brief instrumental fourth movement comes the fifth, where Molte laments his coldness and isolation amidst all the riches, and seduces Ida by urging her to liberate him with her warmth. Jakob Levinsen.

Brass Band - Grade 4

SKU: BT.DHP-1094848-130

Concert March. Composed by Jan de Haan. Brilliant Marches. Concert March. Score Only. Composed 2010. 28 pages. De Haske Publications #DHP 1094848-130. Published by De Haske Publications (BT.DHP-1094848-130).

9x12 inches.

An Emerald Jubilee celebrates a 40th anniversary. Jan de Haan composed this colourfully orchestrated concert march to celebrate Will van der Beek’s 40th anniversary as conductor of the Deutsche Musikverein Haaren. As publisher of van der Beek’s transcriptions of classical works Jan de Haan can look back on many years of successful collaboration with the knowledge that there will be many more to come. Unusually cast in a minor key, the main theme provides an interesting contrast to the more melodic major key of the second movement. The relatively slow theme gives this march a dignified stately and subdued quality.

Een veertigjarig jubileum? Dat is een smaragden jubileum! En zo ontstond de titel voor Emerald Jubilee, refererend aan het veertigjarige jubileum van Wil van der Beek als dirigent bij de Duitse muziekvereniging Haaren. Jande Haan componeerde deze kleurrijke mars. Als voormalig uitgever van de klassieke transcripties van Wil van der Beek kan Jan de Haan terugblikken op vele jaren van succesvolle samenwerking met deze componist. De ongewone toonsoortvan het hoofdthema in mineur en het melodische middendeel in majeur zorgen voor een fraai contrast, het relatief langzame thema verschaft de mars zijn grootse maar tevens behouden karakter.

Ein Emerald Jubilee“ - ein smaragdenes Jubiläum - wird zum Vierzigjährigen gefeiert. So komponierte Jan de Haan diesen klangfarbenreich orchestrierten Marsch zu Wil van der Beeks 40. Dirigenten-Jubiläum beim deutschen Musikverein Haaren. Als Herausgeber von Wil van der Beeks Transkriptionen klassischer Werke kann Jan de Haan auf eine lange erfolgreiche Zusammenarbeit mit ihm zurückblicken. Aus der Moll- Tonart in f-Moll des Hauptthemas und dem melodischen mittleren Satz in Dur ergibt sich ein schöner Kontrast; das relativ langsame Thema verleiht dem Marsch seinen erhabenen und gedämpften Charakter.

Pour célébrer les quarante ans de carrière (jubilé d’émeraude) de son confrère, Wil van der Beek, Jan de Haan a composé cette marche de concert l’orchestration colorée. Si, traditionnellement, les marches festives sont écrites dans une tonalité majeure, Jan de Haan s’est affranchi de cette logique pour installer son thème principal dans la tonalité de Fa mineur. Ce faisant, il obtient un charmant contraste avec le passage central mélodique, écrit dans une tonalité majeure. En choisissant un tempo relativement lent, l’œuvre prend une tournure majestueuse, parfois retenue.

Brass Band - Grade 4

SKU: BT.DHP-1094848-030

Concert March. Composed by Jan de Haan. Brilliant Marches. Concert March. Set (Score & Parts). Composed 2010. De Haske Publications #DHP 1094848-030. Published by De Haske Publications (BT.DHP-1094848-030).

9x12 inches.

An Emerald Jubilee celebrates a 40th anniversary. Jan de Haan composed this colourfully orchestrated concert march to celebrate Will van der Beek’s 40th anniversary as conductor of the Deutsche Musikverein Haaren. As publisher of van der Beek’s transcriptions of classical works Jan de Haan can look back on many years of successful collaboration with the knowledge that there will be many more to come. Unusually cast in a minor key, the main theme provides an interesting contrast to the more melodic major key of the second movement. The relatively slow theme gives this march a dignified stately and subdued quality.

Een veertigjarig jubileum? Dat is een smaragden jubileum! En zo ontstond de titel voor Emerald Jubilee, refererend aan het veertigjarige jubileum van Wil van der Beek als dirigent bij de Duitse muziekvereniging Haaren. Jande Haan componeerde deze kleurrijke mars. Als voormalig uitgever van de klassieke transcripties van Wil van der Beek kan Jan de Haan terugblikken op vele jaren van succesvolle samenwerking met deze componist. De ongewone toonsoortvan het hoofdthema in mineur en het melodische middendeel in majeur zorgen voor een fraai contrast, het relatief langzame thema verschaft de mars zijn grootse maar tevens behouden karakter.

Ein Emerald Jubilee“ - ein smaragdenes Jubiläum - wird zum Vierzigjährigen gefeiert. So komponierte Jan de Haan diesen klangfarbenreich orchestrierten Marsch zu Wil van der Beeks 40. Dirigenten-Jubiläum beim deutschen Musikverein Haaren. Als Herausgeber von Wil van der Beeks Transkriptionen klassischer Werke kann Jan de Haan auf eine lange erfolgreiche Zusammenarbeit mit ihm zurückblicken. Aus der Moll- Tonart in f-Moll des Hauptthemas und dem melodischen mittleren Satz in Dur ergibt sich ein schöner Kontrast; das relativ langsame Thema verleiht dem Marsch seinen erhabenen und gedämpften Charakter.

Pour célébrer les quarante ans de carrière (jubilé d’émeraude) de son confrère, Wil van der Beek, Jan de Haan a composé cette marche de concert l’orchestration colorée. Si, traditionnellement, les marches festives sont écrites dans une tonalité majeure, Jan de Haan s’est affranchi de cette logique pour installer son thème principal dans la tonalité de Fa mineur. Ce faisant, il obtient un charmant contraste avec le passage central mélodique, écrit dans une tonalité majeure. En choisissant un tempo relativement lent, l’œuvre prend une tournure majestueuse, parfois retenue.

For Saxophone Choir with optional Percussion. Composed by Andre Waignein. Scherzando Instrumental Series. Set (Score & Parts). Composed 2013. 22 pages. Scherzando #1952-13-070 S. Published by Scherzando

Fanfare Band - Grade 4

SKU: BT.DHP-1094848-120

Concert March. Composed by Jan de Haan. Brilliant Marches. Concert March. Score Only. Composed 2010. 28 pages. De Haske Publications #DHP 1094848-120. Published by De Haske Publications (BT.DHP-1094848-120).

9x12 inches.

Klaas van der Woude has based his arrangement An Old Swedish Hymn on an old pastoral hymn from Dalarna. This beautiful melody even attracted ABBA as they used it as the opening music for some of their concerts. Van der Woude’s arrangement is in classical style making it suitable for any occasion.

Een veertigjarig jubileum? Dat is een smaragden jubileum! En zo ontstond de titel voor Emerald Jubilee, refererend aan het veertigjarige jubileum van Wil van der Beek als dirigent bij de Duitse muziekvereniging Haaren. Jande Haan componeerde deze kleurrijke mars. Als voormalig uitgever van de klassieke transcripties van Wil van der Beek kan Jan de Haan terugblikken op vele jaren van succesvolle samenwerking met deze componist. De ongewone toonsoortvan het hoofdthema in mineur en het melodische middendeel in majeur zorgen voor een fraai contrast, het relatief langzame thema verschaft de mars zijn grootse maar tevens behouden karakter.

Ein emerald jubilee“ - ein smaragdenes Jubiläum - wird zum Vierzigjährigen gefeiert. In diesem Falle komponierte Jan de Haan diesen klangfarbenreich orchestrierten Marsch zu Wil van der Beeks 40. Dirigenten-Jubiläum beim deutschen Musikverein Haaren. Als Herausgeber von Wil van der Beeks Transkriptionen klassischer Werke kann Jan de Haan auf viele Jahre erfolgreicher Zusammenarbeit mit ihm zurückblicken. Aus der Moll-Tonart in f-Moll des Hauptthemas und dem melodischen mittleren Satz in Dur ergibt sich ein schöner Kontrast; das relativ langsame Thema verleiht dem Marsch seinen erhabenen und gedämpften Charakter.

Pour célébrer les quarante ans de carrière (jubilé d’émeraude) de son confrère, Wil van der Beek, Jan de Haan a composé cette marche de concert l’orchestration colorée. Si, traditionnellement, les marches festives sont écrites dans une tonalité majeure, Jan de Haan s’est affranchi de cette logique pour installer son thème principal dans la tonalité de Fa mineur. Ce faisant, il obtient un charmant contraste avec le passage central mélodique, écrit dans une tonalité majeure. En choisissant un tempo relativement lent, l’œuvre prend une tournure majestueuse, parfois retenue.

Fanfare Band - Grade 4

SKU: BT.DHP-1094848-020

Concert March. Composed by Jan de Haan. Brilliant Marches. Concert March. Set (Score & Parts). Composed 2010. De Haske Publications #DHP 1094848-020. Published by De Haske Publications (BT.DHP-1094848-020).

9x12 inches.

Klaas van der Woude has based his arrangement An Old Swedish Hymn on an old pastoral hymn from Dalarna. This beautiful melody even attracted ABBA as they used it as the opening music for some of their concerts. Van der Woude’s arrangement is in classical style making it suitable for any occasion.

Een veertigjarig jubileum? Dat is een smaragden jubileum! En zo ontstond de titel voor Emerald Jubilee, refererend aan het veertigjarige jubileum van Wil van der Beek als dirigent bij de Duitse muziekvereniging Haaren. Jande Haan componeerde deze kleurrijke mars. Als voormalig uitgever van de klassieke transcripties van Wil van der Beek kan Jan de Haan terugblikken op vele jaren van succesvolle samenwerking met deze componist. De ongewone toonsoortvan het hoofdthema in mineur en het melodische middendeel in majeur zorgen voor een fraai contrast, het relatief langzame thema verschaft de mars zijn grootse maar tevens behouden karakter.

Ein emerald jubilee“ - ein smaragdenes Jubiläum - wird zum Vierzigjährigen gefeiert. In diesem Falle komponierte Jan de Haan diesen klangfarbenreich orchestrierten Marsch zu Wil van der Beeks 40. Dirigenten-Jubiläum beim deutschen Musikverein Haaren. Als Herausgeber von Wil van der Beeks Transkriptionen klassischer Werke kann Jan de Haan auf viele Jahre erfolgreicher Zusammenarbeit mit ihm zurückblicken. Aus der Moll-Tonart in f-Moll des Hauptthemas und dem melodischen mittleren Satz in Dur ergibt sich ein schöner Kontrast; das relativ langsame Thema verleiht dem Marsch seinen erhabenen und gedämpften Charakter.

Pour célébrer les quarante ans de carrière (jubilé d’émeraude) de son confrère, Wil van der Beek, Jan de Haan a composé cette marche de concert l’orchestration colorée. Si, traditionnellement, les marches festives sont écrites dans une tonalité majeure, Jan de Haan s’est affranchi de cette logique pour installer son thème principal dans la tonalité de Fa mineur. Ce faisant, il obtient un charmant contraste avec le passage central mélodique, écrit dans une tonalité majeure. En choisissant un tempo relativement lent, l’œuvre prend une tournure majestueuse, parfois retenue.

Double Bass, optional 3 part Bass Chorus and Chamber Orchestra Chamber Orchestra; Double Bass; Men's Choir (Double Bass)

SKU: HL.49045803

Farewell to St. Petersburg Double Bass, optional 3 part Bass Ch. Composed by Gavin Bryars. String Solo. Classical. Softcover. 52 pages. Duration 1680 seconds. Schott Music #ED13956. Published by Schott Music (HL.49045803).

UPC: 841886030091.

This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinkas song cycle Farewell to St Petersburg. Bryars writes The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass)..

By Chris Tomlin. By Bear Rinehart, Ed Cash, Nathaniel Rinehart, and Chris Tomlin. Arranged by David Angerman. PraiseSong Choral. General Worship, Sacred. Octavo. 12 pages. Published by PraiseSong

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1063950-140

Composed by Satoshi Yagisawa. Brilliant Marches. Score Only. Composed 2006. 32 pages. De Haske Publications #DHP 1063950-140. Published by De Haske Publications (BT.DHP-1063950-140).

9x12 inches. English-German-French-Dut ch.

This work was commissioned by the All Japan Band Association (Chiba Prefecture) to commemorate their 45th anniversary. The composer, Satoshi Yagisawa, was requested to write a march that was easy enough for junior high school students to play, and was based on the folk songs in Chiba Prefecture. After several months of research the composer finally discovered Boushu Oiwake, a lyrical folk song sung with the Japanese bamboo flute and shamisen (three-stringed Japanese instrument). After the composition process has been completed we have here a fantastic triumphant march sure to ?raise the roof? at any performance.

Dit werk is gebaseerd op de volksmuziek uit de Chiba-prefectuur. Aanvankelijk was het erg moeilijk om een geschikt volkslied te vinden voor een mars, maar na een aantal maanden zoeken ontdekte de componist Boushu Oiwake, eenlyrisch volkslied voor zang, de Japanse bamboefluit en de shamisen (een Japans instrument met drie snaren). Hij bouwde de mars op volgens zijn eigen muzikale ideeën met als basis het betreffende volkslied. De expressie varieert,afhankelijk van de tempi en de interpretaties van passages. Geef uw orkest de mogelijkheid om een unieke uitvoering van March-Bou-Shu te geven.

Der japanische Komponist Satoshi Yagisawa kreierte March-Bou- Shu in seiner eigenen Tonsprache, unter Verwendung eines Volksliedes aus seiner Heimat, dem Regierungsbezirk Chiba. Die Aufführung des Stückes gewinnt durch die Auslotung der ursprünglichen Spielweise des Liedes. Die verschiedenen Spielweisen variieren je nach Tempo und Interpretation einzelner Passagen und erlauben Ihrem Blasorchester ganz individuelle Spielweisen zu entwickeln.

Trouver une mélodie traditionnelle qui puisse convenir au style d’une marche ne fut pas chose facile. Après plusieurs mois de recherches, le compositeur découvre finalement la mélodie Boushu Oiwake, un chant traditionnel extrêmement mélodieux accompagné par une fl te en bambou et un shamisen (luth trois cordes). March-Bou-Shu trouve son sens dans l’expression musicale propre au compositeur. Votre interprétation trouvera son originalité dans le choix des tempi et l’expressivité des passages.

Non è facile trovare una melodia tradizionale adatta allo stile di una marcia. Dopo parecchi mesi di ricerca, il compositore scopre la melodia Boushu Oiwake, un canto tradizionale molto melodioso accompagnato da un flauto in bambu e da un shamisen (liuto a tre corde). March-Bou-Shu riflette lo stile musicale caratteristico del compositore. La scelta dei tempi e l’espressivit dei passaggi da parte degli esecutori dar un’impronta originale alla composizione.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1063950-010

Composed by Satoshi Yagisawa. Brilliant Marches. Set (Score & Parts). Composed 2006. De Haske Publications #DHP 1063950-010. Published by De Haske Publications (BT.DHP-1063950-010).

9x12 inches. English-German-French-Dut ch.

This work was commissioned by the All Japan Band Association (Chiba Prefecture) to commemorate their 45th anniversary. The composer, Satoshi Yagisawa, was requested to write a march that was easy enough for junior high school students to play, and was based on the folk songs in Chiba Prefecture. After several months of research the composer finally discovered Boushu Oiwake, a lyrical folk song sung with the Japanese bamboo flute and shamisen (three-stringed Japanese instrument). After the composition process has been completed we have here a fantastic triumphant march sure to ?raise the roof? at any performance.

Dit werk is gebaseerd op de volksmuziek uit de Chiba-prefectuur. Aanvankelijk was het erg moeilijk om een geschikt volkslied te vinden voor een mars, maar na een aantal maanden zoeken ontdekte de componist Boushu Oiwake, eenlyrisch volkslied voor zang, de Japanse bamboefluit en de shamisen (een Japans instrument met drie snaren). Hij bouwde de mars op volgens zijn eigen muzikale ideeën met als basis het betreffende volkslied. De expressie varieert,afhankelijk van de tempi en de interpretaties van passages. Geef uw orkest de mogelijkheid om een unieke uitvoering van March-Bou-Shu te geven.

Der japanische Komponist Satoshi Yagisawa kreierte March-Bou- Shu in seiner eigenen Tonsprache, unter Verwendung eines Volksliedes aus seiner Heimat, dem Regierungsbezirk Chiba. Die Aufführung des Stückes gewinnt durch die Auslotung der ursprünglichen Spielweise des Liedes. Die verschiedenen Spielweisen variieren je nach Tempo und Interpretation einzelner Passagen und erlauben Ihrem Blasorchester ganz individuelle Spielweisen zu entwickeln.

Trouver une mélodie traditionnelle qui puisse convenir au style d’une marche ne fut pas chose facile. Après plusieurs mois de recherches, le compositeur découvre finalement la mélodie Boushu Oiwake, un chant traditionnel extrêmement mélodieux accompagné par une fl te en bambou et un shamisen (luth trois cordes). March-Bou-Shu trouve son sens dans l’expression musicale propre au compositeur. Votre interprétation trouvera son originalité dans le choix des tempi et l’expressivité des passages.

Non è facile trovare una melodia tradizionale adatta allo stile di una marcia. Dopo parecchi mesi di ricerca, il compositore scopre la melodia Boushu Oiwake, un canto tradizionale molto melodioso accompagnato da un flauto in bambu e da un shamisen (liuto a tre corde). March-Bou-Shu riflette lo stile musicale caratteristico del compositore. La scelta dei tempi e l’espressivit dei passaggi da parte degli esecutori dar un’impronta originale alla composizione.

Concert Band/Harmonie - Grade 5

SKU: BT.AMP-223-140

Composed by Philip Sparke. Elite Series. Concert Piece. Score Only. Composed 2008. 52 pages. Anglo Music Press #AMP 223-140. Published by Anglo Music Press (BT.AMP-223-140).

9x12 inches. English-German-French-Dut ch.

A Midwest Celebration is geschreven voor de Decatur Municipal Band uit Illinois in de Verenigde Staten, ter gelegenheid van het 150-jarig bestaan van dit orkest. Philip Sparke kreeg de opdracht een werk te schrijven dat rechtzou doen aan de lange geschiedenis van het orkest - met een weerspiegeling van het gevarieerde repertoire, dat bestaat uit traditionele kost, zoals ouvertures en marsen, maar dat ook nieuwe, originele werken en arrangementen bevat.A Midwest Celebration is gebaseerd op de populaire negentiende-eeuwse orkestouvertures van componisten als Berlioz, Verdi en Suppé.

Für den schwungvollen Auftakt dieser Hommage an ein Blasorchester, das Traditionelles und moderne Originalwerke in seinem Repertoire vereint, nahm sich Philip Sparke die Ouvertüren eines Berlioz, Verdi oder Suppé zum Vorbild. Dem setzte er als zweites Thema eine heitere Melodie entgegen, die durch verschiedene Teile des Blasorchesters gereicht und weiterentwickelt wird, bevor sich im Höhepunkt beide Ideen treffen und das Werk beenden.

Le Midwest est une vaste région du centre des États-Unis, entre la Côte Est et l'Ouest américain. Fondé le 19 septembre 1857, l’Orchestre d’Harmonie Municipal de Decatur (Illinois, États-Unis) est une des plus anciennes formations civiles américaines. Depuis sa création, l’orchestre n’a jamais cessé de participer activement la vie florissante de la cité, se produisant lors de concerts en intérieur ou en plein air, de parades ou de certains événements spéciaux. la demande de Jim Culbertson, directeur musical de l’orchestre, Philip Sparke fut chargé d’écrire une pièce qui illustre la longue et riche histoire de la formation travers un répertoire varié qui s’étend de l’universclassique avec ses ouvertures et marches jusqu’aux œuvres originales et arrangements d’œuvres récents.A Midwest Celebration s’inspire de quelques célèbres ouvertures orchestrales du XIXe siècle écrites par de grands compositeurs tels que Berlioz, Verdi et Suppé. L’introduction est florissante. Tout s’apaise lorsqu’apparaît une mélodie aux courbes harmonieuses, jouée par les cors, les clarinettes et les saxophones. Mais peine commence-t-il se développer que le thème est brutalement interrompu par l’intervention des trompettes qui ouvrent un vertigineux passage Vivace, illuminé par des fanfares brillantes (cuivres) et une profusion d’éléments d’ornementation (bois). Les cors reprennent l’exposition de la mélodie initiale soutenus par la douceur ondulante des fl tes. Soudain, les lignes mélodiques du Vivace resurgissent et balayent la musique pour progresser vers leur intensité maximale, point de rencontre entre les deux thématiques qui mènent le composition vers sa conclusion.

Concert Band/Harmonie - Grade 5

SKU: BT.AMP-223-010

Composed by Philip Sparke. Elite Series. Concert Piece. Set (Score & Parts). Composed 2008. Anglo Music Press #AMP 223-010. Published by Anglo Music Press (BT.AMP-223-010).

9x12 inches. English-German-French-Dut ch.

A Midwest Celebration is geschreven voor de Decatur Municipal Band uit Illinois in de Verenigde Staten, ter gelegenheid van het 150-jarig bestaan van dit orkest. Philip Sparke kreeg de opdracht een werk te schrijven dat rechtzou doen aan de lange geschiedenis van het orkest - met een weerspiegeling van het gevarieerde repertoire, dat bestaat uit traditionele kost, zoals ouvertures en marsen, maar dat ook nieuwe, originele werken en arrangementen bevat.A Midwest Celebration is gebaseerd op de populaire negentiende-eeuwse orkestouvertures van componisten als Berlioz, Verdi en Suppé.

Für den schwungvollen Auftakt dieser Hommage an ein Blasorchester, das Traditionelles und moderne Originalwerke in seinem Repertoire vereint, nahm sich Philip Sparke die Ouvertüren eines Berlioz, Verdi oder Suppé zum Vorbild. Dem setzte er als zweites Thema eine heitere Melodie entgegen, die durch verschiedene Teile des Blasorchesters gereicht und weiterentwickelt wird, bevor sich im Höhepunkt beide Ideen treffen und das Werk beenden.

Le Midwest est une vaste région du centre des États-Unis, entre la Côte Est et l'Ouest américain. Fondé le 19 septembre 1857, l’Orchestre d’Harmonie Municipal de Decatur (Illinois, États-Unis) est une des plus anciennes formations civiles américaines. Depuis sa création, l’orchestre n’a jamais cessé de participer activement la vie florissante de la cité, se produisant lors de concerts en intérieur ou en plein air, de parades ou de certains événements spéciaux. la demande de Jim Culbertson, directeur musical de l’orchestre, Philip Sparke fut chargé d’écrire une pièce qui illustre la longue et riche histoire de la formation travers un répertoire varié qui s’étend de l’universclassique avec ses ouvertures et marches jusqu’aux œuvres originales et arrangements d’œuvres récents.A Midwest Celebration s’inspire de quelques célèbres ouvertures orchestrales du XIXe siècle écrites par de grands compositeurs tels que Berlioz, Verdi et Suppé. L’introduction est florissante. Tout s’apaise lorsqu’apparaît une mélodie aux courbes harmonieuses, jouée par les cors, les clarinettes et les saxophones. Mais peine commence-t-il se développer que le thème est brutalement interrompu par l’intervention des trompettes qui ouvrent un vertigineux passage Vivace, illuminé par des fanfares brillantes (cuivres) et une profusion d’éléments d’ornementation (bois). Les cors reprennent l’exposition de la mélodie initiale soutenus par la douceur ondulante des fl tes. Soudain, les lignes mélodiques du Vivace resurgissent et balayent la musique pour progresser vers leur intensité maximale, point de rencontre entre les deux thématiques qui mènent le composition vers sa conclusion.

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-043-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2003. 32 pages. Anglo Music Press #AMP 043-140. Published by Anglo Music Press (BT.AMP-043-140).

These eight little solos are intended to supply easy, descriptive pieces for the beginner horn player which are not only beneficial for technical development but will also be useful performance material. The tunes are characteristically horn-like in nature.

A Huntingdon Celebration ist eine kurze, lebhafte Ouvertüre. In dieser abwechslungsreichen Komposition erscheinen verschiedene Themen und Phrasen einmal in einzelnen Instrumentengruppen, dann spielt wieder das gesamte Blasorchester. Die Fanfare der Eröffnung rundet schließlich ein Werk ab, mit dem Sie Ihr Ensemble von vielen Seiten präsentieren können. So setzen Sie Ihre Musiker ins rechte Licht!

L’Orchestr e d’Harmonie du Comté du Huntingdonshire, situé dans l’Est de l’Angleterre, a été fondé en 1993. En 2001, les musiciens invitent le compositeur Philip Sparke, pour un week-end de travail consacré ses œuvres. De cette collaboration chaleureuse, naît l’idée de passer commande d’une pièce pour le 10ème anniversaire de la création de la formation, célébré en 2003. Philip Sparke leur compose A Huntingdon Celebration.Cette ouverture courte et vive débute avec une introduction écrite en forme de fanfare qui s’inspire du thème principal, exposé, dans un premier temps, par les clarinettes et les saxophones, puis par l’Orchestre d’Harmonie en entier. Cuivres et boisétablissent une conversation musicale qui mène l’introduction d’un second thème tout en legato, sur un accompagnement bouillonnant en croches. Le passage central, plus lent, développe un choral dans les registres ténors. Le tempo premier revient ensuite et le thème initial est exposé nouveau, amorçant la reprise de la fanfare d’ouverture qui vient conclure l’œuvre sur une note brillante.

Questo breve e vivace brano d’apertura è ideale per iniziare un concerto. L’incipit è scandito da un tema in stile di fanfara eseguito dai clarinetti e dai sassofoni, sostenuto dall’intera banda. Dopo un corale centrale più lento, ritorna il tempo originale seguito dalla fanfara d’apertura che riappare portando il brano ad una trionfale chiusura.