Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is light, effervescent, and devoid of conflict or disharmony. Anderson looked upon the piece as a modern-day American revival -- or revitalization -- of the Viennese waltz tradition. Having said that, the main theme sounds rather unlike a Strauss waltz, but the voice of Tchaikovsky is evident in its playful, fantasy-like character. The melody is rhythmic and comes in short groups of notes, beginning with two notes, then three, then expanding further; the music skates along elegantly. The middle section features a delightful variation on the theme, in which Anderson\'s gentle-belled sonorities impart a playful innocence. This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band

Par CURNOW JAMES. Feature the section that “delivers the energy” in this great new arrangement by James Curnow. Based on a French folk song that tells a story about three young drummer boys, the music uses imitation, question and answer and stylistic rhythmic figures to challenge these proud musicians. While featuring the Percussion section, there are also great parts for everyone else, so the entire group will stay engaged and productive in rehearsal. Spirited! / Niveau : 1.5 / Musique légère originale / Répertoire / Percussions et Concert Band ou Harmonie

The Three Peaks - Die 3 Zinnen. Par DOSS THOMAS. The Three Peaks (Italian: Tre Cime di Lavaredo) are a prominent massif in the Dolomites on the border between the Italian provinces of Belluno in the south and South Tyrol in the north. The imposing rock formations formed over 200 million years ago and represent one of the most recognizable landmarks of the Dolomites and South Tyrol (I). Due to their exceptional beauty, the Dolomites with the Three Peaks are dignified as a UNESCO World Heritage Site since 2009. The ?call? of the Three Peaks attracts numerous visitors every year, who will experience an unforgettable and impressive spectacle of changing colors from cool gray to glowing red. The Three Peaks tower over the eventful contemporary history of Tyrol and South Tyrol like stone guardians. / Date parution : 2022-11-29/ Répertoire / Concert Band/Harmonie

Arr. Stephen Bulla. Par SCHUMANN ROBERT. Robert Schumann’s interest in Music Education was demonstrated in his collection, An Album For The Young. This delightful series included The Stranger, Nordic Song, and Soldier’s March, three wonderful solos that are now classics for young piano students. Stephen Bulla’s marvelous transcription of these three melodies for young band, THE SCHUMANN SUITE, is a perfect change of pace. / Niveau : 1.5 / Répertoire / Concert Band ou Harmonie

Les Trois Mousquetaires. Par AULIO MAXIME. Les Trois Mousquetaires est une commande de la société Miraphone pour le Miraphone Tuba Quartett et la Musique des Gardiens de la Paix, qui en assurèrent la création à Guebwiller (France), le 28 juin 2003. / Même si l’on n’a jamais lu une seule ligne du roman mythique d’Alexandre Dumas, Les Trois Mousquetaires (1844), on connaît nécessairement le quatuor parfait (avec sa célèbre devise « Tous pour un, un pour tous ») que forment D’Artagnan, Athos, Porthos, et Aramis. Aussi ne compte-t-on plus les nombreuses adaptations du roman, ni les nombreux historiens qui s’intéressent au très réel Charles de Batz de Castelmore d’Artagnan, mort au siège de Maastricht en 1673. Letissu musical des Trois Mousquetaires (The Three Musketeers) s’intéresse davantage aux éléments de la personnalité d’un personnage, qu’au rôle qu’il joue dans l’intrigue. La trame est vivante, on y vit intensément. Maxime Aulio a orienté son choix sur D’Artagnan, le parfait gentilhomme, sensible et romantique, qui se laisse facilement séduire par les femmes, à l'image de la douce Constance Bonacieux dont il s'éprend et de la perfide Milady de Winter dont la beauté l’envoûte. Le premier mouvement - D’Artagnan - est fidèle au caractère du jeune noble provincial venu de Gascogne : enthousiaste et héroïque en toutes circonstances. Le second mouvement - Constance Bonacieux - est galant, prévenant et passionné. Le troisième et dernier tableau est, quant à lui, aussi ensorceleur et sournois que la femme fatale qu’il dépeint, Milady de Winter. / Niveau : 5 / Pièce de concert / Répertoire / Quatuor de Cuivres graves et Orchestre D'Harmonie

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

March of the Three Kings. Par HOSAY JAMES L.. A brilliant opener or a rousing finale! Either way, this is the piece that will make memories and stir your audience’s comments at your winter concert. A bravura exploration of the well-known 13th century melody March of the Three Kings (also arranged by Bizet as Farandole in L’Arlésienne ), the Fantasia On A 13th Century Carol will catch and hold everyone’s attention from first note to last. As you may know, James L. Hosay is a master of concert band composition, and many facets of his remarkable talent are clearly evident in this powerful new composition. Magnificent! / Niveau : 4 / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it. There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town. This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par PROKOFIEV SERGEI. The Russian ballet director Sergei Diaghilev commissioned many composers to write music for the theatre. This was what caused Serge Prokofiev to compose the four part Scytische Suite (also known as Ala and Lolli) in 1916, from which The Enemy God and the Dance of the Spirits can be heard on this CD. This suite is one of Prokofiev's first works, and received negative criticism following its first performance on account of its being 'uncivilised'. Prokofiev himself wrote after this first performance '. . . The timpani player beat the skin of the timpani to tatters, and the whole orchestra voiced a protest. A cellist complained that he only put up with the violence, createdby the blaring brass, on account of his sick wife and three children. . . '. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par HANNICKEL MIKE. History! Introduce a bit of good old early-Americana to your audiences this year. GEORGE WASHINGTON SUITE is made up of three tunes known to have been composed for (or about) George and Martha Washington in their own time. Probably the best known of the three is the first movement, WASHINGTON’S GRAND MARCH, which is believed to have been written by Francis Hopkinson. He was one of the signers of the Declaration of Independence. The second movement has the delightful title “Fancy Menuit with figure Dance by Two young Ladies in the presance of Mrs. Washington in 1792. Phila. ” sic (The quaint original spellings and capitalizations are preserved here for historical interest. ) A fife-and-drum style arrangement of the BRANDYWINE QUICKSTEP completes this early American triptych. The stately and moderate tempos that fit the music of this era so well also ensure that the arrangements remain accessible to young bands. Add some good old early-American spirit to your upcoming performance with GEORGE WASHINGTON SUITE! / Niveau : 2 / Répertoire / Concert Band ou Harmonie

Par CURNOW JAMES. An exciting adventure for bands of a moderate standard. From a brooding, fog-shrouded sand castle along the seashore in England to another on the sunny coast of France (including rainstick and spoken “wave” effects) to an exotic triple-meter “Flamenco-esque” impression of one in Spain, SANDCASTLES is a noteworthy addition to the CMP Passport Plus Series. Referring to varying locations naturally invites contrasting styles in the three separate movements. Delightful Percussion writing and creative effects with colorful orchestration throughout make this imaginative and masterfully-crafted arrangement a memorable asset to modern young band literature. Intriguing! / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. Volcano is a work commissioned by the Municipal Wind Orchestra of Endingen in Germany. The three creative impulses which provided the basis for this symphonic poem are inspired by outside sources. They are closed linked with the history of the Orchestra and the region in which it performs. In this region is the Kaiserstuhl, an enormous rock situated on the edge of the Black Forest. Volcano is a stimulating, lyrical, brilliant and festive work. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

Par BULLA STEPHEN. Spirited rhythmic underpinnings support three great Old West songs in Stephen Bulla’s ALONG CAME THE COWBOYS. You’ll find a bonanza of great teaching tools in this Western extravaganza: phrase extensions, style contrasts, dynamic and articulation considerations, rhythmic counterpoint, and much more. Your young musicians will really enjoy playing music that employs the types of mechanisms standardized by decades of cowboy movie underscoring. This is something your students can definitely get into! What a great supporting assignment to have your students try to find examples of comparable musical treatments on their movie videos and DVDs. Head ‘em up! Move ‘em out! / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band ou 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