for Symphonic Band-Rio Grande (2015) for symphonic band is Grammy award winning composer Michael Daughertys follow-up to his iconic Niagara Falls (1997). The title refers to the legendary 1 250-mile river that flows from the mountains of southern Colorado to the Gulfof Mexico near Brownsville Texas. In Rio Grande the composer has created a powerful musical landscape that is magical and majestic. The percussion section comprised of timpani bongos woodblocks tom toms and bass drums creates a rhythmicundercurrent to an angular motif that is first heard in the woodwinds emerging high above the musical precipice. This jagged motif is passed on to individual instruments such as the tuba and eventually in various colorful guises to the entiresymphonic band. Reminding us of the long cultural history associated with the great river we also hear ghostly Mexican mariachi music echoing faraway through the canyons. In the coda all the musical material is combined to create a grandiose endingto our journey down the timeless Rio Grande. A resounding success at the world premiere given by the North Texas Wind Symphony (Eugene Migliaro Corporon conductor) Rio Grande should prove to be one of Daughertys most popular and performed bandworks for years to come.

Cette ?uvre a été composée en commande de l?Aikodai Meiden High School Symphonic Band à l?occasion de son 50e concert annuel ce qui a inspiré le titre. L?amitié profonde entre Hiroki Ito ? le chef d?orchestre ? et Satoshi Yagisawa est à l?origine decette fanfare jubilatoire d?une durée approximative de deux minutes pièce d?ouverture idéale pour votre concert. La composition originale était pour un orchestre extrêmement grand de 200 musiciens comprenant aussi une banda séparée uneharpe et d?autres instruments spéciaux. Cette nouvelle version a été réarrangée pour formation standard par le compositeur lui-même.

This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band a fanfare and brass band so that the audience could experience all three types of ensembles. This was indeed an original concept.The name ConZEnSus comes from a combination of the words ‘Concert Cyclus’ (concert series) and ‘zes’ (Dutch for ‘six’). This leads to a new word which refers to ‘consensus’. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years) ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.

Philip Sparke a composé cette pièce pour le Western Plains Wind Consortium placé sous la direction de son fondateur Daniel Baldwin. La création fut assurée par l?Orchestre d?Harmonie de l?Université d?État de l?Oklahoma Panhandle (Dr. Matthew C. Saunders direction) le 1er décembre 2009 au Centennial Theatre à Goodwell en Oklahama (États-Unis). Les orchestres membres du Western Plains Wind Consortium qui ont contribué à la commande de cette œuvre sont :Garden City High School Symphonic Band - Ryan Elliot & Daniel Baldwin directionSouthwestern Oklahoma State University Wind Ensemble - James South directionPanhandle State University Band - Matthew Saunders direction Holton High School Band - Donald McDaniel directionHolcomb High School Band - Paul White directionBethel College Band - Timothy Shade directionGarden City Community College Band - Daniel Baldwin directionLa commande stipulait que l?œuvre devait synthétiser une ambiance hivernale sans référence au cycle de la Nativité. Philip Sparke a réalisé une scène d?hiver en pleine campagne. A Winter?s Tale s?ouvre avec une série d?accords soutenus joués par les bois et colorés par le timbre cristallin des cloches tandis qu?un saxophone alto chante une complainte crépusculaire. Un passage orchestral court mais dense prélude à l?exposition du thème principal. Les couleurs douces et vaporeuses enveloppent les champs et les forêts enneigés. L?orchestre reprend le thème tandis que l?on entend au loin un tintement de grelots annonçant le passage imminent d?une troïka. Une fois passée la musique s?apaise et le thème principal revient avant de laisser la place au motif d?ouverture qui vient conclure la trame musicale.

Overture for Symphonic Band-Cette composition est dédiée à l?Orchestre d?Harmonie sud-allemand Südwind. En 2004 Ferrer Ferran fut chef invité de la formation.L?idée de composer cette œuvre est née lors d?un dîner réunissant Ferrer Ferran Werner Buchmann directeur de l?Orchestre d?Harmonie et quelques membres de la formation. Ferrer Ferran répondit favorablement à leur demande et suggéra à Werner Buchmann sur le ton de la plaisanterie de lui chanter un motif de cinq notes qui servirait de leitmotiv à l?œuvre. Après un long moment de réflexion celui-ci s?exécuta et chanta le motif suivant :Lab (3) - Si (2) - Ré# (4) - Mi (4) - Fa (3)Et c?est avec ce même motif de cinq notes que FerrerFerran a structuré son ouverture. Le résultat est époustouflant : la musique est superbe et souligne la force créatrice du compositeur.

Symphonic Opening. Par SCHWARZ OTTO M.. L’œuvre Symphonic Dimensions est une pièce d’ouverture pleine de puissance avec un thème récurrent. Commençant avec une fanfare festive dans laquelle le thème est présenté pour la première fois, cela se poursuit avec la légèreté d’un 12/8. Les thèmes varient grâce à différentes instrumentations et s’alternent de façon récurrente pour aboutir à un final grandiose. Cette œuvre peut également être la conclusion pleine de puissance à un concert. / Date parution : 2021-12-09/ Répertoire / Concert Band/Harmonie

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Commissioned for the University of Akron Symphonic Band this dynamic work celebrates 100 years of music composed for the Olympic Games. Based on three primary themes the first is a brilliant fanfare that serves as an introduction as well as a unifying link throughout. Second is the 1896 Olympic Hymn (music by Spyros Samaras) set in a beautiful lyric style which builds to a magnificent climax juxtaposed with the opening fanfare. The final section presents a new version of Mr. Curnow's own Olympic Fanfare and Theme for the Olympic Flag which was commissioned for the 1996 Olympic Games in Atlanta and performed again in 2000. The dramatic closing is again combinedwith elements of the opening fanfare. Dur: c. 6:40 (Recorded by the University of Akron Symphony Band - Dr. Galen S. Karriker Director of Bands. Premiere performance conducted by James Curnow)

I Left My Heart in San Francisco is a popular song which has become a timeless favorite spanning across generations. With music by George Cory and lyric by Douglass Cross it became most well-known as the signature song of Tony Bennett. This band arrangement by Alfred Reed displays the wistful melody in a lush sonic canvas rich with the instrumental colors unique to a symphonic band. This edition includes a full score and newly engraved parts carefully edited and adapted for modern concert bands by Mark Rogers. (Grade 3.5)

for Youth Symphonic Band - Score and Parts-(2003)Award-winning composer Michael Daugherty's first published work for young band describes a stretch of Interstate 75 that crosses through Florida's Everglades National Park. Alligator Alley celebrates thisnoble beast that has remained largely unchanged from prehistoric times. The first theme (“Alligator's Theme”) features the woodwinds (predominantly bassoons) while the second theme (“Hunter's Theme”) isperformed by the brass. Program notes and staging suggestions are included in this marvelously descriptive work. Duration - ca. 4:30 Free interdisciplinary curriculum for the piece is available for download athttp://www.BandQuest.org.

(2nd Symphonette for Symphonic Band) Op. 52-Equestrian Symphonette est une commande de l?Orchestre d?Harmonie de Laval en France. La campagne entourant la préfecture de la Mayenne abrite de nombreuses écuries de pur-sang. Le compositeur utilise les trois allures principales (trot pas galop) d?un cheval comme fondements musicaux de cette ?uvre et les représente en musique en combinaison avec sa description de la nature environnante. Des motifs rythmiques intéressants sont imbriqués avec des mélodies riches dans cette ?uvre originale et en font un excellent choix pour vos concours ou un ajout imaginatif à vos concerts.

Auxiliary Woodwind Parts-Commissioned by the acclaimed Midwest Clinic in 2005 this exciting work by Samuel Hazo demonstrates the composer's continued fresh approach and unique vision for wind bands. Scored for brass and percussion with woodwind playerscontributing East African chant/singing along with egg shakers this composition is a tribute to the memory of Rosa Parks and her struggles on behalf of civil rights more than 50 years ago. An auxiliary set of woodwind parts isnow available allowing this dramatic music to be performed by a traditional symphonic band instrumentation. Dur: 4:00

Commissioned by the Oregon Symphonic Band in Portland Bridge of the Gods is a dramatic three-movement symphonic poem presenting the colorful legend told by the Native American Klickitatst about the origins of the volcanicmountains of the Cascade range and legendary bridge. The first movement “Saghalie” pays tribute to the powerful chief of all gods and is based on a majestic fanfare theme. The 2nd movement captures the beauty of themaiden “Loowit” with haunting flute and english horns solos accompanied by soft chanting voices. The final movement “Tanmahawis” utilizes stark clusters jagged melodic fragments and rhythmic percussiveenergy as it depicts the destruction of the mighty bridge. Dur: 8:50Recorded by the Oregon Symphonic Band – Michael Burch-Pesses conductor