Arr. Ron Sebregts. Par CLAPTON ERIC. Eric Clapton’s CD Unplugged is one of the top-selling albums of all time. The collection of hits inspired Ron Sebregts to create the medley The Cream of Clapton. It consists of Sebregts favourite songs by this legendary blues and rock guitarrist, singer and songwriter. This medley is guaranteed to be an audience and band favorite for many years to come! / Niveau : 4 / Pop and rock / Recueil / Brass Band

Arr. Menno Haantjes. Par DE HAAN JACOB. This playful three-part suite is largely based on symmetry. This of course is largely due to the relations of the arrangement of the themes; however, on the other hand, to the larger structures in form. The first part, (Prelude et Scherzo) has a solemn opening. Followed by it a related scherzo with many changes in time, this too is composed in a symmetrical form. In the second movement, Choral Dorian, the theme of the prelude is reversed and used in chorale in Dorian tonality. The suite comes to a close with Rondo d'Avignon. An annual theatre festival in a French city on the Rhone inspired this suite. It is a lively movement, symmetrically bought to a finish with a repeat of theprelude from the first movement. / Niveau : 2 / Pièce de concert / Répertoire / Brass Band

Concerto for Brass Band. Par SPARKE PHILIP. Perihelion was commissioned by the Cory Band as their own-choice piece for the 2013 European Brass Band Championships, held in Oslo, Norway. Winning the set piece section of the contest and coming second to Eikanger-Bjorsvik Musikklag with their own choice selection, Cory went on to become European Champions for the fifth time. Cory MD Philip Harper had asked for a ‘Concerto for Band’ to fully exploit his outstanding band of virtuosi, and composer Philip Sparke created a one-movement work with contiguous sections, first featuring horns and flugel, then trombones followed by cornets and a slower central section for percussion and baritones, euphonium andbasses. The piece is abstract in nature, without a specific programme, and the title merely reflects the fact that the piece was begun on January 2nd 2013, the day of Earth’s perihelion - the point in its orbit when it is closest to the sun. It could also be argued that the piece weaves between moments of brilliant optimism and dark shadow, both of which can be the result of bright sunshine. / Niveau : 6 / Pièce de concert / Répertoire / Brass Band

Arr. Stephen Bulla. Par DVORAK ANTONIN. This hauntingly beautiful melody is probably the mostfamous to come from the pen of Czech composer, Antonin Dvorák. Stephen Bulla’s transcription of‘Largo’ from the ‘New World Symphony’ will helpyour students focus on expressive playing, and bringgreat delight to all with the soothing nostalgicmelody. / Niveau : 2 / Musique pour célébration / Répertoire / Brass Band

Par DE HAAN JACOB. Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting 'Pacific Dreams' Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir. With these ideas and his newly purchased print of 'Pacific Dreams', he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific. Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti. Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his 'Pacific Dreams'. Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney. / Niveau : 3 / Musique légère originale / Répertoire / Brass Band

Little Suite for Orchestra No. 1: Op 53. Par ARNOLD MALCOLM. Malcolm Arnold is one Britain’s best-loved composers. In 1948 he composed a very short suite for the National Youth Orchestra of Great Britain - entitled simply To Youth. Seven years later he took To Youth and made some fairly major revisions, including a complete new movement, and the Little Suite for Orchestra was born. The Little Suite for Orchestra follows a very similar pattern to the later suites for brass band, starting with a bold, strident Prelude, which strangely ends quietly before a lovely, lilting, Dance composed in 3/8 time. Finally a rollicking and militaristic March brings the suite to a conclusion. This arrangement for brass band by Robin Norman is sure tobecome a classic in the brass band repertoire. / Niveau : 4 / Pièce de concert / Date parution : 1905-06-30/ Répertoire / Brass Band

Meditation on 'O come, O come, Immanuel'. The Advent hymn we all know today as O Come, O Come, Immanuel was arranged in its modern form by Thomas Helmore and published in Hymnal Noted in 1856. Both the words and melody, however, predate this version by centuries. The words are based on a 9th century antiphon and the tune, Veni Immanuel, is taken from a 15th century processional of French Franciscan nuns, part of the setting for the funeral hymn Libera Me. This arrangement aims to expand on the power and mystery of the original tune and will be most effective if the solo cornet at the start and end of the piece can be placed away from the band, maybe at the back of the auditorium. / Niveau : 2.5 / Musique religieuse / Recueil / Brass Band