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

Par SPARKE PHILIP. Out of the Darkness, Into the Light is about optimism. All of us experience disappointments in our lives, such failed relationships or the loss of loved ones, but the indomitability of the human spirit allows us to overcome such set backs and get through the darker moments. For some, faith and religion may be the answer, but this piece is more about the internal strength that we can all call upon. Opening in sombre mood, the first phase of the work symbolises the doubts we all have about ourselves and our lives. The opening phrase on solo clarinet appears throughout the piece and could be seen as the central idea of the work, the human spirit itself. The faster, centralsection is about the struggle to overcome the pain we experience and at bar 88 the moment of catharsis occurs. This signals a change of mood and from then on, the clarinet motif is transformed into a feeling of joy and optimism. We have entered the light. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Uluru - Kata Tjuta. Par YAGISAWA SATOSHI. Call of the Aboriginals – Uluru – Kata Tjuta est une commande du Nara Municipal Ichijo Senior High School Symphonic Band, de la ville de Nara, dans la préfecture japonaise du même nom, pour la commémoration de son 60e anniversaire. Uluru, aussi connu sous le nom d’Ayers Rock, est un énorme monolithe qui se trouve dans l’étendue de l’outback australien. Il est sur la liste du patrimoine international de l’UNESCO. C’est un lieu sacré pour le peuple aborigène de la région, les Pitjantjatjara Anangu, mais sa popularité croissante comme destination touristique cause des conflits culturels et environnementaux. Cette oeuvre, dans le style typique du compositeur, illustre unrécit d’aventure dramatique inspiré par la vie des peuples indigènes et du magnifique paysage d’Uluru. L’oeuvre est idéale pour vos concours ou vos concerts thématiques. / Niveau : 4 / Pièce de concert / Date parution : 1905-07-09/ Répertoire / Concert Band ou Harmonie

Bad Orb Impressions. Par DE HAAN JACOB. Call of the Valley s’ouvre sur un tempo festif en forme de marche. Des sonorités majestueuses dessinent un concert de musique sacrée. Puis deux groupes instrumentaux quittent la scène et exécutent leurs parties à distance. Un groupe de saxophones interprète une valse, un autre groupe réunissant cuivres et _x001D_flûtes joue une marche. À la fin de l’oeuvre, l’orchestre reprend les thèmes des deux groupes tandis que ceux-ci reviennent vers la scène. Une fois arrivés, ils restent face au public alors que résonne l’accord _x001C_final. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Arr. Hirokazu Fukushima. Par JACKSON MICHAEL. Five years after the release of the monster album Thriller, which sold a record-breaking 105 million copies worldwide up to this date, this second single from the album Bad, released in 1987, also peaked at number one on the Billboard chart. This song was performed during Michael’s first solo world tour that started from Japan (Korakuen Stadium) in September 1987. The short film directed by Martin Scorsese also generated great publicity. In particular, the animated group dance scene in the subway made a huge impact on the viewers and distinguished Michael’s image. As the video depicts, “bad” in this song’s lyrics indicate the kicking, cool unruly living on thestreets. As the opening number, Bad strikes out a course of slight-but-right edginess with its dynamically groovy arrangement that underscores the electric funk in the original tune. Don’t miss the last punch line: Who’s bad? / Niveau : 3 / Pop and rock / Recueil / Concert Band ou Harmonie

Par PASTORE CARMINE. A Grade 1 rock anthem! It’s a perfect way to keep your beginners motivated while you drill them on that new concept called “eighth notes. ” Lots of repetition of simple eighth note figures will help your young band players enter the fascinating world of the divided beat with ease. This solid minor key rock-type piece will also help to keep your audience attentive by letting them hear a bit of a style they are so accustomed to. The overwhelming rhythmic nature of the piece also makes it a possible choice for use with an elementary level massed band. When faced with more than 100 beginners at a time, one likes to do music that has a beat they can hang on to! Whether it’s for asmall one-school band or a giant massed group, this one is sure to work for you. / Niveau : 1 / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. As the title suggests, this is a fiery and energetic, dynamic overture. Jan Van der Roost was commissioned to write the piece by the Japanese ‘Band of the NEC-Tamagawa Plant’ on the occasion of its 40th anniversary. From the first measure, the brass section sets the scene with rhythmical motives. Gradually we hear melodic and playful themes, often supported by (poly)rhythmic figures. A fermate in the trombone section prepares the way for the final theme, which virtuosically leads into a reprise of the first fanfare. The dynamic circle closes! / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Take your audience on a voyage to the vast, unexplored areas of the Amazon Rainforest, where most of the world's isolated tribes dwell. Through the use of call-and-response, repetitive rhythmic grooves, and percussion instruments native to the region, this piece was written to celebrate the diverse and lively music culture that exists within the indigenous groups who call the Amazon Rainforest home. (4:40) / Concert Band

for Wind Orchestra, Full Score. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band/Harmonie

for Wind Orchestra, World Set (no ESS). Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band