Variations on Ein' feste Burg. Par SPARKE PHILIP. Philip Sparke a composé Between the Two Rivers à l’occasion du centenaire de la Fanfare Prins Hendrik (1904-2004) de la ville d’Aalst aux Pays-Bas. Le titre de cette composition trouve son origine dans le fait que la ville est enserrée entre deux affluents de la rivière Dommel. Aalst est une cité pieuse. La création d’un ensemble de variations sur le thème du célèbre choral luthérien Ein’ feste Burg (C’est un rempart que notre Dieu) s’imposait comme une évidence. Between the Two Rivers est une oeuvre fluide, lyrique, mystérieuse et élégante. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band ou Harmonie et Clarinette

Par RAE JAMES. James Rae is the man who put fun into woodwind and brass teaching. His many compositions, especially in the jazz and blues idioms, have often featured on examination syllabuses. Recent years have seen his publications of easy flexible ensembles for younger players and now he turns his attention to the wind band. In his new series “The Concert Band Collection”, he has written exciting new pieces for the standard concert band line up. Attention is given to each instrument so that the technical and musical requirements do not exceed UK Grade 2.5. An optional piano part will provide “stuffing” and moral support for the young players who will quickly enjoy James’ catchy and imaginative music. Each volume contains two titles. Each volume features two titles. This one includes “Big Screen Fanfare”, a fanfare in the style of a Hollywood movie theme and the cool “Rockbuster”. A score of this edition (without the parts) is available with the number UE21792./ Répertoire / Concert Band

Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band

Par VAN DER ROOST JAN. 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. / Niveau : 4 / Ouverture / Répertoire / Fanfare

Par DE HAAN JACOB. This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the 'Symphonic Variations' are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J. S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

Par VAN DER ROOST JAN. In this colourful composition, Jan van der Roost recreates the energetic and multi-racial city life in Manhattan, using four contrasting movements. The opening movement is rather short and rhytmical. In the second “Picture”, a variety of musical entities accumulate into a coloured “sound curtain”, on top of which the brass section presents a broad theme. In contrast to the two previous movements, the third movement is exremely quiet, featuring the first flute, clarinet an oboe in broad melodies. Again, the orchestration plays an essential role. Following on a majestic “tutti” (almost “movie-like. . . . ) the serenity of the very beginning reappears. Finally, the nervousness anddynamic style of the two first movements come back in an exciting apotheosis with rich and sometimes surprising instrumentation which explores the multiple possibilities of the large symphonic wind band to the full. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

Par HANNICKEL MIKE. Two melodies in the Scottish style meet head-on in this energetic new arrangement. Your students will love the “bagpipe sound” and rhythmic color of the Scottish “snap”. This arrangement can also be used with young bands as a lesson in the concept of counterpoint. Each of the two main themes is clearly stated on its own, but remarkable things happen when they are played together. Through skillful selection of themes and contrapuntal composition, Mike Hannickel does a masterful job of melding these contrasting songs into a unified and energetic adventure into the Highlands. Fun to play, and a great style study! / Niveau : 2.5 / Musique légère originale / Répertoire / Concert Band

Par SCHAARS PETER KLEINE. Melodia Blues, a swinging composition by PeterKleine Schaars begins with a robust intro. Fourbars follow, which can be repeated ad lib. toallow for an optional announcement (this is theso-called VAMP). The blues theme follows alongwith two written-out improvisations. These can beexpanded - depending on the resources withinyour band. After a richly scored reprise of thetheme, the sparkling final chords close the piece instyle. Bring a great jazz feel to any concert withthis fine new work. Grade 3 / Niveau : 3 / Musique légère originale / Répertoire / Fanfare

Par ROELS STIJN. Bellum et Pax is a composition describing the two ancient concepts of ‘war’ and ‘peace. ’ While this piece appears to be one single movement, it consists of four sections that flow into one another. Mysterious and threatening tones lead the way into an epic battle between the chaos of war and enlightenment of peace. Peace triumphs, but menacing bass notes at the end symbolize the constant presence and threat of war and violence in the world. / Niveau : 5 / Pièce de concert / Répertoire / Fanfare

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 SADELER GEORGES. Schola Vitae, dedicated to the former director of UGDA Music School in Luxembourg, Paul Scholer, describes in an 8-minute piece that learning and playing music is a school for life. Starting with popular scales that ascend and descend through various keys, an essential tool familiar to every musician appears: the metronome. It sets the tempo, and musicians practice their themes together or against each other, register by register. In music, however, it's not just about technique and precision, but also about emotions. Music connects people, fosters friendships, and accompanies them through the highs and lows of life. The sense of togetherness in music becomes increasingly audible. Everyone works together and pulls in the same direction to ultimately achieve something great. Georges Sadeler, born in 1988 is a Luxembourgish composer and saxophonist with the Grand Ducal Military Band of Luxembourg. His father kindled his interest in composing and arranging at an early age, a study he later continued under his two teachers Marco Pütz and Claude Lenners, both of whom taught at the Conservatoire of Music, Luxembourg. He gradually began to establish his own style, combining the enormous range of possibilities of contemporary music and classical music and, in the years that followed, he won six first prizes at various national and international composition competitions. His works have since been performed all over Europe. / Date parution : 2023-10-31/ 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

Par STRATFORD DIZZY. This composition by Dizzy Stratford symbolises the birth of the new Russia in the time of Mikhail Gorbachev with its new openness in public affairs (glasnost) accompanied by political and economic reform (perestroika). Glasnost is a work offering a modern vision of Russian music. Dizzy Stratford has chosen to combine the national hymn of the Soviet Union with two traditional melodies which, with a steady, energetic rhythm portray the wind of change and freedom in Russian society. / Niveau : 3 / Musique légère originale / Répertoire / Fanfare