Arr. James L. Hosay. Par WAGNER RICHARD. Wagner on Stage met en scène des extraits de quatre opéras de Wagner : Tannhäuser, Le crépuscule des dieux, Lohengrin et Les maîtres chanteurs de Nurenberg. Richard Wagner a probablement écrit les opéras les plus dramatiques de son temps. Ses compositions, pleines de passion, de dynamisme, mais également de sentimentalité, ont inspiré James L. Hosay. Wagner on Stage est un arrangement fidèle donnant un large aperçu de la grande créativité de Richard Wagner, dont le 200e anniversaire sera célébré en 2013. / Niveau : 4 / Répertoire / Concert Band ou Harmonie

from Rienzi. Par WAGNER RICHARD. Richard Wagner est un compositeur unique dans l’histoire. Il enrichit l’harmonie d’agrégations jusqu’alors inusitées, ses orchestrations sont différentes de celles de ses contemporains, ses mélodies semblent infinies, les leitmotiv naissent avec fluidité et ses thèmes d’opéras sont en rupture avec les courants de l’époque. Rienzi (1840) est une oeuvre de jeunesse qui contient en germe tous ces éléments innovateurs. Friedensmarsch est une marche à la fois sombre et majestueuse extraite de l’Acte IV, scène 2 de l’opéra. / Niveau : 3 / Transcription / Répertoire / Concert Band ou Harmonie

Par WAGNER RICHARD. CAYROL RICHARD (Arr. ) - Durée: 6'23 / Niveau : Assez Facile / Opéras, opéras comiques, opérettes / Répertoire / Partie Séparée

Par WAGNER RICHARD. MASTIO (Arr. ) / Niveau : Avancé / Opéras, opéras comiques, opérettes / Répertoire / Parties Supplémentaires

Par WAGNER RICHARD. Georges CORROYEZ (Arr. ) / Niveau : Assez Facile / Musique classique / Répertoire / Parties Supplémentaires

Par WAGNER RICHARD. Pierre DUPONT (Arr. ) / Niveau : Intermédiaire / Opéras, opéras comiques, opérettes / Répertoire / Partie Séparée

Arr. Jay Bocook. Par WAGNER RICHARD. / Niveau : 3 / Répertoire / Concert Band

Par WAGNER RICHARD. MASTIO (Arr. ) / Niveau : Avancé / Opéras, opéras comiques, opérettes / Répertoire / Exemplaire Complet

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

A Poem by Hermann Hesse (1877-1962). Par DE HAAN JACOB. Stufen (Degrés) est une composition pour Soprano ou Mezzo-soprano et Orchestre d’Harmonie, basée sur le poème philosophique éponyme du romancier et poète germano-suisse, Hermann Hesse (1877-1962). Le poème évoque les différentes étapes de la vie. La trame musicale de Jacob de Haan porte la marque de la musique post-romantique de Richard Wagner et Richard Strauss. Stufen est placé sous le signe d’un adieu qui fait la part belle à la mélancolie - motif premier qui détermine l’essentiel du climat musical. Le passage instrumental final se développe comme un contrepoids à la tristesse. La musique change de couleur, l’atmosphère est sereine et apaisante : de Lamineur, nous passons en Do Majeur, tonalité pure, innocente et lumineuse. L’accord brisé de trois sons (Do Majeur) dans un mouvement ascendant et l’accord lumineux des flûtes et des hautbois apportent une touche aérienne au développement. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band et Solistes

Daniel François Esprit Auber (Caen, 1782 ; Paris, 1871) a été témoin de tout un cycle de l’histoire de la musique, de Luigi Cherubini à Richard Wagner. Son répertoire comporte essentiellement des opéras. Des quarante opéras qu’il a composés, seuls deux ont su résister aux vicissitudes du temps : La Muette de Portici (parfois nommée Masaniello ) et Fra Diavolo. La Muette de Portici est un opéra révolutionnaire à de nombreux égards ; la légende veut même que la représentation du 29 juin 1830, au Théâtre de la Monnaie de Bruxelles ait déclenché l’insurrection qui fut à l’origine du mouvement révolutionnaire entraînant la séparation de la Belgique et de laHollande. L’opéra-comique Fra Diavolo se révèle par son intérêt musical, qui lui vaut d’être interprété de nos jours encore. Les nombreuses aventures du capitaine Fra Diavolo sont restées captivantes grâce à un langage musical attrayant, dénué de sentimentalité. L’ouverture Fra Diavolo est de structure classique. Les thèmes simples et débonnaires évoquent des images claires, et de nombreux appels et échos militaires nous rappellent que l’intrigue se développe au rythme des péripéties des brigands et des carabiniers ! L’introduction de l’ouverture est orchestrée de façon inhabituelle pour l’époque. La caisse claire tient le rôle principal. / Niveau : 4 / Transcription / Recueil / Concert Band ou Harmonie

Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Hautbois

Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Saxophone Ténor

Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Trombone/Euphonium