Easter Fantasy. Par BILKES MICHAEL. Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée à être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double choeur ainsi créé donne à la pièce un caractère varié et divertissant. / Hymnes et chorals / Répertoire / Concert Band

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The composition ".The Fever Tree". in 2008 was commissioned by the Music Association of Central and Eastern Netherlands St.Willibrord as a gift to all its members on the occasion of the formation of a national music organization and the elimination of the music union for Central and Eastern Netherlands St.Willibrord. The fever tree is a controversial legend about St. Willibrord (658-739). The daughter of a pagan chieftain of Hoemannen that made the area around Heumen unsafe was seriously ill. They feared for her life. The chief of the gang turned to predatory Willibrord who same time in this region led mission. Willibrord commanded theman to repent and a headband of the girl to a certain special tree to hang. The desperate captain obeyed and his daughter was a miraculous heal. Then came the anger of the Hoemannen against their leader who in their eyes had committed treason by the group to convert. They abused themselves to him and killed him brutally. The daughter remained behind in great sorrow comforted by Willibrord. The composition has the following scenes: - Andante moderato - the calling of Willibrord - Allegro moderato - Willibrord passes through the province of Brabant and try to people to repent - Vivace - Hoemannen terrorize the inhabitants of the area Heumen - Andante - the healing of the sick girl and the conversion of the centurion - Inquieto - the revenge of the Hoemannen - Adagio - elegy on the death of the chief

Par GYORFFY ISTVAN. Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gyorffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movement transfers a characteristic playing technique of Hungarian instrumental folk music to the concert band. István Gyorffy composed Ungaresca for young people preparing for careers in music. The work provides an excellent opportunity for students not only to display their instrumental skills, but also to gain orchestral playing experience./ Répertoire / Concert Band

Some of the most exotic music from Cirque du Soleil is found in this production. A faint middle Eastern flavor highly effective musical layering and a sensational ending are some of the highlights. Each section of the band has its moment of excellence!

This classic by Rimsky-Korsakov comes alive in Johnnie Vinson's impressive yet easy arrangement. The solemn opening is scored for solo horn (or trumpet). The fast section that follows is scored for the entire ensemble through to the powerful ending.