Par DE HAAN JAN. Inspiration was commissioned by the Solothurnischer Kanotonal Musikverband in Switzerland in 1993. The composition begins with an A-theme written in a Phrygian tonality and, after an enormous climax, moves on into a quicker B-section, characterized by the use of wide interval jumps. Then follows the development in which both themes return individually and together. Peace and quiet is restored in the slow middle movement, based on the B-theme. The movement comes to a close with a tutti B-theme, brutally interrupted by fragments from the A-theme. Without a break, the final movement of this contrastive piece develops from these fragments. The theme of this extremelyrhythmical closing movement is built up of elements from the A-theme, whilst the B-theme (from the slow middle movement) returns in full once more. Before the piece comes to a close in a resounding fortissimo, the cornet soloist performs the A-theme from the back of the auditorium, to special effect. / Niveau : 4 / Pièce de concert / Répertoire / Fanfare

Inspired by THE PIRATE. Par HANNICKEL MIKE. Inspired By The Pirate / Niveau : 2 / Marche / Répertoire / Concert Band

Par VAN DER ROOST JAN. In the course of the two centuries following the death of Henry Purcell in 1695, no British composer of any statue was apparent. Consequently, the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century, was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar’s music and on the occasion of the fiftieth anniversary of the composer’s death in 1984 he composed the “CeremonialMarch”. Van der Roost was inspired by the most famous and frequently played works from Elgar’s catalogue of works, the characteristic “Pomp and Circumstances” marches, and decided to add his own, sixth march to the existing collection. / Niveau : 5 / Marche / Répertoire / Fanfare

Par VAN DER ROOST JAN. In the course of the two centuries following the death of Henry Purcell in 1695, no British composer of any statue was apparent. Consequently, the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century, was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar’s music and on the occasion of the fiftieth anniversary of the composer’s death in 1984 he composed the “CeremonialMarch”. Van der Roost was inspired by the most famous and frequently played works from Elgar’s catalogue of works, the characteristic “Pomp and Circumstances” marches, and decided to add his own, sixth march to the existing collection. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. This work, in two movements, was written for the 50th anniversary of “Harmonie St. Cecilia” in Oudenburg, Belgium, and is dedicated to its conductor, Arne Wyntin. The first part is rather quiet and pastoral in character, and is written in a gently rocking 12/8 time. The tranquility of the area around the medieval town of Oudenburg, a rustic region not far from the North Sea, is expressed in a striking fashion. After a beautiful orchestral climax, the second part begins, which is inspired by the Roman past of Oudenburg. A somewhat oppressive and impending introduction leads to the musical reflection of an army parade: Oudenburg was a so-called “castellum, ” and the remains ofthe fortress are still visible in the current town plan. A more dynamic passage follows featuring the low brass. After that, the solemn rhythm of the parade is recaptured, culminating in a triumphant ending. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band

Par SPARKE PHILIP. This piece was inspired by the composer watching his young son, Benny, playing ‘soldiers’ with his collection of teddy bears - how appropriate!But it made him think of the many character pieces which take the form of a ‘toy march’, the most notable examples being by Haydn, Tchaikovsky and Leon Jessel. Parade of the Clockwork Soldiers is in the form of a ‘patrol’ (starting and ending quietly with a louder middle) and aims to represent a band marching past the listener. In fact, where the hall layout permits it, it could be possible to add a little choreography to the piece, starting and ending with only a few instruments on stage. / Niveau : 2 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Arr. Henk Hogestein. The name of Johann Sebastian Bach (1685-1750) is inextricably connected to the German city of Leipzig. This modest and very dutiful master composer worked like a diligent civil servant. From 1723 until his death in 1750, he was cantor of the Thomaskirche in Leipzig. Since the beginning of the 20th century, the Bach Festival takes place in this city every year. The hallmark of Leipzig is internationality: every year, soloists come from far and near to perform the baroque music again. The Bach Festival inspired the Dutch composer Henk Hogestein to write Memories of Leipzig, which is based on a theme from one of Bach’s arias. / Niveau : 2 / Classique / Recueil / Concert Band ou Harmonie

Par HADERMANN JAN. Refraction is a work that uses the entire band and all the colours it can possibly produce. As the title suggests, it was inspired the fascinating physical phenomenon known as refraction. Just like light is split and disbursed into all its colours, the main theme is split into little motives. As the individual motives are disbursed throughout the band, different sections become more prominent, only to recede into the general texture again. The work concludes with the fusion of all these elements in a monumental climax of movement, sound and colour. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par DE HAAN JACOB. Dreaming of love. This is the theme of the folksong on which the composition was based. Its characteristic melody inspired Jacob de Haan to this instrumental romance with a transparent structure consisting of an introduction, the folk-melody, a development of the theme, the folk-melody accompanied by ornamental triplets followed by the final bars. / Niveau : 2 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Arr. James Curnow. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky's lovely, melancholy melody was inspired by a poem that speaks of great sadness. Print the poem in your program, or have it recited as the band plays to create a deeply moving tribute to any and all departed loved ones. This is a simply gorgeous piece of music that explores dark tonalities and expressive performance. / Niveau : 4 / Musique pour célébration / Répertoire / Concert Band

Arr. Otto M. Schwarz. Par PRAETORIUS MICHAEL. The many sided and productive Michael Praetorius (1571-1621) is knwon as a composer of dance music, sacred music and music for the advent and Christmas time. He worked as Kapelmeister to the court at Wolffenbuttel, but he was also asked to serve in other places, includin Dresden. Praetorius was valued for the new impulses he gave to music by means of his use of instrumental accompaniment. His main contribution is his theoretical work 'Syntagma Musicum', one of the most important musical refernce books, in connection with instruments and instrumentation in the early 17th Century. 'Es ist ein ros entsprungen' is a well known ancient melody which has inspired numerous composers andarrangers througout the Centuries. Otto M. Schwarz has made a choral arrangement. / Niveau : 2 / Musique religieuse / Répertoire / Concert Band ou Harmonie

Par CURNOW JAMES. Jubilation! Ring in the season with this inspired treatment of Mendelssohn’s Hark! The Herald Angels Sing. The harmonic textures and contrapuntal ideas are right on target for the grade level and the majestic setting will lift the spirits of all in attendance. Essential repeated sight rhythms and careful attention to articulations ensure that you will be able to prepare this for performance early in the academic year while reinforcing important technical skills all along the way. This one is a joy to rehearse and perform. Captivating! / Niveau : 3 / Répertoire / Concert Band ou Harmonie

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 DE HAAN JAN. Sunset - the sun heads towards the western horizon and slowly slips from view. The sky creates a dazzling display of yellows, oranges, and reds, before turning a calm blue, then purple, and finally black. Such sunsets inspired Jan de Haan to write this piece for solo oboe and concert band. It is dedicated to his daughter, Hermanda. / Niveau : 2.5 / oeuvre solo et Orchestre / Répertoire / Hautbois et Concert Band ou Harmonie

Par VAN DER ROOST JAN. This work consists of two movements. The first part is rather quiet and pastoral in character, written in a gently rocking 12/8 time and expressing the tranquillity of the area around the medieval town of Oudenburg in Belgium. After a beautiful orchestral climax the second section, inspired by the Roman past of Oudenburg, begins. A somewhat oppressive and impending introduction leads to the musical reflection of an army parade: Oudenburg was a so-called “castellum, ” and the remains of the fortress are still visible in the current town plan. A more dynamic passage follows featuring the low brass. After that, the solemn rhythm of the parade is recaptured, culminating in atriumphant ending. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie