Concert Band/Harmonie - Grade 5 SKU: BT.CMP-0916-05-010 Composed by James...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.CMP-0916-05-010
Composed by James Curnow.
Symphonic Band. Concert
Piece. Set (Score &
Parts). Composed 2005.
Curnow Music #CMP
0916-05-010. Published by
Curnow Music
(BT.CMP-0916-05-010).
English.
We urge
you to look at this
important new composition
by James Curnow. This
symphonic variant style
treatment of themes based
on the shape-note tune
Resignation is a
magnificent compositional
exploration. Once your
group has achieved the
ability to perform at
this level of difficulty,
they deserve to play
music with the challenge
and masterful quality
that Inventions from the
Sacred Harp
presents. Even a brief
analysis of the score
reveals composition and
development techniques
that are reserved for
pieces on an impressive
scale. A more thorough
analysis lets you
appreciate the complexity
of the compositional
processes found in the
very fabric of this major
work.The historical
significance of The
Sacred Harp provides
the opportunity for some
cross-curricular work as
well.
Wenn Ihr
Blasorchester ein
gewisses spielerisches
Niveau erreicht hat,
sollten Sie es mit einem
Stück wie
Inventions from the
Sacred Harp belohnen.
James Curnow entwickelte
Variationen in
verschiedenen Stilen,
basierend auf dem in so
genannten shaped
notes“
geschriebenen Stück
Resignation aus dem
berühmten Liederbuch
The Sacred Harp,
das Lieder, Hymnen,
Psalmenmelodien und
Volksliedbearbeitungen
früher amerikanischer
Komponisten enthält.
Ein komplexes, Genre
übergreifendes Werk
voll von besonderen
Kompositionsund
Entwicklungstechniken,
das Musiker und Publikum
tief beeindrucken
wird!
Composed by Joseph Horovitz (1926-). For concert band. The Best Original Composi...(+)
Composed by Joseph
Horovitz (1926-). For
concert band. The Best
Original Compositions for
Concert Band. Molenaar
Band Music. Recorded on
Wind-Harp (ML.311010720).
Grade 6. Score only.
Duration 16 minutes, 30
seconds. Published by
Molenaar Edition
Grade 5 - Score
Only. Composed by
James Curnow. Arranged by
James Curnow. Curnow
Music Concert Band. 45
pages. Curnow Music
#91605140. Published by
Curnow Music
(HL.44005260).
UPC:
073999338157. 8.5x11
inches.
Using a
symphonic variant style
(like that of Hindemith's
Symphonic
Metamorphosis), James
Curnow has written a
magnificent compositional
exploration of themes
based on the shape-note
tune
“Resignation.&rdquo
; Advanced groups love to
play music at this level
of challenge and
substance, and directors
will appreciate the
developmental techniques
woven into its fabric.
Add a history unit on
The Sacred Harp
for some cross-curricular
work.
By David Liptak. By David Liptak. For Concert Band. Concert Band. Donald Hunsber...(+)
By David Liptak. By David
Liptak. For Concert Band.
Concert Band. Donald
Hunsberger Wind Library.
Level: 5 (Medium
Advanced) (grade 5).
Conductor Score and
Parts. 259 pages.
Published by Alfred
Publishing.
By Chris Sharp. Arranged by Chris Sharp. Concert Band/Wind Ensemble. FJH Concert...(+)
By Chris Sharp. Arranged
by Chris Sharp. Concert
Band/Wind Ensemble. FJH
Concert Band. Full set
(score and parts). Score
only also available: S.
Concert Band. Score and
Set of Parts. Composed
2001. Published by The
FJH Music Company Inc.
Level: Grade 4.
A Showstoppin' Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire FJH
By Chris Sharp. Arranged by Chris Sharp. Concert Band/Wind Ensemble. FJH Concert...(+)
By Chris Sharp. Arranged
by Chris Sharp. Concert
Band/Wind Ensemble. FJH
Concert Band. Score for
this title: B1274S. Extra
part for this title:
B1274P. Concert Band.
Level: Grade 3. Score and
Set of Parts. Published
by The FJH Music Company
Inc.
Concert Band - Grade 1 SKU: AP.47379 Composed by Douglas E. Wagner. Conce...(+)
Concert Band - Grade 1
SKU: AP.47379
Composed by Douglas E.
Wagner. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Novelty. Score and
Part(s). 136 pages.
Duration 2:00. Belwin
Music #00-47379.
Published by Belwin Music
(AP.47379).
UPC:
038081541891.
English.
A
charismatic,
easy-to-prepare piece for
your beginners becomes
pure entertainment for
your audience,
incorporating some
naughty yet prominent
guest soloists. Share our
recording with your
prospective sharpening
artists to build their
confidence. We can't wait
to see the performance
variations of this
delightfully entertaining
piece. A sure winner!
(2:00).
Concert Band - Grade 1 SKU: AP.47379S Composed by Douglas E. Wagner. Conc...(+)
Concert Band - Grade 1
SKU: AP.47379S
Composed by Douglas E.
Wagner. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Novelty. Score. 20 pages.
Duration 2:00. Belwin
Music #00-47379S.
Published by Belwin Music
(AP.47379S).
UPC:
038081541914.
English.
A
charismatic,
easy-to-prepare piece for
your beginners becomes
pure entertainment for
your audience,
incorporating some
naughty yet prominent
guest soloists. Share our
recording with your
prospective sharpening
artists to build their
confidence. We can't wait
to see the performance
variations of this
delightfully entertaining
piece. A sure winner!
(2:00).
A Golden Jubilation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175792-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1175792-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Opening Pieces. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175792-010. Published by
De Haske Publications
(BT.DHP-1175792-010).
English-German-French-
Dutch.
This work
was composed as a
commission by the Aikodai
Meiden High School
Symphonic Band, for the
50th anniversary of their
annual concert; the title
A Golden
Jubilation is a
reference to this. The
close friendship between
Hiroki Ito, theconductor
of the band, and Satoshi
Yagisawa resulted in this
brilliant and
exhilarating fanfare of
approximately two minutes
in length; the piece is
ideal to use as a concert
opener. The original
composition was arranged
for an extremely wide
rangeof instruments and a
band of 200 musicians,
including a separate
‘banda’,
harp and a variety of
special instruments. This
new version has been
rescored for standard
band instrumentation by
the composer
himself.
Dit werk
is geschreven in opdracht
van de Aikodai Meiden
High School Symphonic
Band, ter gelegenheid van
het vijftigste
jaarconcert dat door het
orkest werd uitgevoerd
een feit waar de titel
naar verwijst. De hechte
vriendschap tussen Hiroki
Ito(de dirigent van het
orkest) en Satoshi
Yagisawa leidde ertoe dat
Yagisawa op uitnodiging
deze schitterende,
boeiende fanfare van
circa twee minuten lang
schreef: een werk dat
ideaal is als opening van
een concert. De
oorspronkelijke
compositie
werdgearrangeerd voor een
extreem omvangrijke
instrumentatie, waaronder
een afzonderlijke
banda, harp en
diverse speciale
instrumenten, maar deze
nieuwe versie is door de
componist zelf opnieuw
georkestreerd voor een
standaard
harmonieorkest.
Di
eses Werk wurde von der
Aikodai Meiden High
School Symphonic Band
anlässlich ihres
50-jährigen
Konzertjubiläums, auf
das sich der Titel des
Werkes bezieht, in
Auftrag gegeben. Die enge
Freundschaft zwischen
Hiroki Ito, dem Leiter
des Orchesters,und
Satoshi Yagisawa
führte zur Komposition
dieser brillanten und
hinreißenden Fanfare
von etwa zwei Minuten
Dauer, die sich bestens
als Eröffnungsstück
eignet. Die
Originalkomposition wurde
für eine extrem
große Besetzung
inklusive einer
separatenBanda“,
Harfe und einigen
Spezialinstrumenten
komponiert. Diese neue
Version hat der Komponist
für eine
Standardbesetzung neu
instrumentiert.
Quest
a fanfara brillante della
durata di circa 2 minuti,
ispirata
dall’amicizia tra
Hiroki Ito il direttore
della banda e Satoshi
Yagisawa, è ideale
come apertura di un
concerto. L’opera
originale venne
arrangiata per una
strumentazione molto
ampia e una banda di 200
musicisti, inclusa una
sezione separata, con
un’arpa e una
variet di strumenti
speciali. Questa nuova
versione è stata
riarrangiata per banda
con strumentazione
standard dallo stesso
compositore.
A Golden Jubilation Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175792-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1175792-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Opening Pieces. Score
Only. Composed 2017. 13
pages. De Haske
Publications #DHP
1175792-140. Published by
De Haske Publications
(BT.DHP-1175792-140).
English-German-French-
Dutch.
This work
was composed as a
commission by the Aikodai
Meiden High School
Symphonic Band, for the
50th anniversary of their
annual concert; the title
A Golden
Jubilation is a
reference to this. The
close friendship between
Hiroki Ito, theconductor
of the band, and Satoshi
Yagisawa resulted in this
brilliant and
exhilarating fanfare of
approximately two minutes
in length; the piece is
ideal to use as a concert
opener. The original
composition was arranged
for an extremely wide
rangeof instruments and a
band of 200 musicians,
including a separate
‘banda’,
harp and a variety of
special instruments. This
new version has been
rescored for standard
band instrumentation by
the composer
himself.
Dit werk
is geschreven in opdracht
van de Aikodai Meiden
High School Symphonic
Band, ter gelegenheid van
het vijftigste
jaarconcert dat door het
orkest werd uitgevoerd
een feit waar de titel
naar verwijst. De hechte
vriendschap tussen Hiroki
Ito(de dirigent van het
orkest) en Satoshi
Yagisawa leidde ertoe dat
Yagisawa op uitnodiging
deze schitterende,
boeiende fanfare van
circa twee minuten lang
schreef: een werk dat
ideaal is als opening van
een concert. De
oorspronkelijke
compositie
werdgearrangeerd voor een
extreem omvangrijke
instrumentatie, waaronder
een afzonderlijke
banda, harp en
diverse speciale
instrumenten, maar deze
nieuwe versie is door de
componist zelf opnieuw
georkestreerd voor een
standaard
harmonieorkest.
Di
eses Werk wurde von der
Aikodai Meiden High
School Symphonic Band
anlässlich ihres
50-jährigen
Konzertjubiläums, auf
das sich der Titel des
Werkes bezieht, in
Auftrag gegeben. Die enge
Freundschaft zwischen
Hiroki Ito, dem Leiter
des Orchesters,und
Satoshi Yagisawa
führte zur Komposition
dieser brillanten und
hinreißenden Fanfare
von etwa zwei Minuten
Dauer, die sich bestens
als Eröffnungsstück
eignet. Die
Originalkomposition wurde
für eine extrem
große Besetzung
inklusive einer
separatenBanda“,
Harfe und einigen
Spezialinstrumenten
komponiert. Diese neue
Version hat der Komponist
für eine
Standardbesetzung neu
instrumentiert.
Quest
a fanfara brillante della
durata di circa 2 minuti,
ispirata
dall’amicizia tra
Hiroki Ito il direttore
della banda e Satoshi
Yagisawa, è ideale
come apertura di un
concerto. L’opera
originale venne
arrangiata per una
strumentazione molto
ampia e una banda di 200
musicisti, inclusa una
sezione separata, con
un’arpa e una
variet di strumenti
speciali. Questa nuova
versione è stata
riarrangiata per banda
con strumentazione
standard dallo stesso
compositore.
Symphony No. 3.
Composed by Philip
Sparke. Elite Series.
Concert Piece. Set (Score
& Parts). Composed 2015.
Anglo Music Press #AMP
403-010. Published by
Anglo Music Press
(BT.AMP-403-010).
English-German-French-
Dutch.
Philip
Sparke’s third
symphony, A Colour
Symphony, was
commissioned by
“sinfonischen
blasorchester
wehdel†conducted
by Thomas Ratzek. In the
five movements (white,
yellow, blue, red and
green) the
composer creates links
betweenthe
instrumentation and
harmonic elements and the
actual colour of the
spectrum the movement
stands for. In order to
create the greatest
richness possible, Philip
Sparke used a very large
instrumentation including
low woodwinds, harp,
piano andcelli. A
Colour Symphony is an
impressive and iconic
addition to the standard
repertoire for large
symphonic
bands.
De derde
symfonie van Philip
Sparke, A Colour
Symphony, is
geschreven in opdracht
van het
‘sinfonischen
blasorchester
wehdel’, dat onder
leiding staat van
dirigent Thomas Ratzek.
In de vijf delen
(white, yellow, blue,
red andgreen)
legt de componist
verbanden tussen de
instrumentatie en
harmonische elementen en
de kleur waar het
betreffende deel voor
staat. Om een grote
klankrijkdom te
creëren heeft Sparke
een omvangrijk palet aan
instrumentatie
gebruikt,waaronder het
lage houtregister, een
harp, piano en
cello’s. A
Colour Symphony is
een indrukwekkende en
iconische aanvulling op
het standaardrepertoire
van het grote symfonische
blaasorkest.
Phili
p Sparkes dritte
Sinfonie, A Colour
Symphony, wurde vom
Sinfonischen
Blasorchester Wehdel, das
von Thomas Ratzek
geleitet wird, in Auftrag
gegeben. In den fünf
Sätzen (white,
yellow, blue, red and
green) stellt der
Komponisteine Verbindung
zwischen der
Instrumentierung und den
harmonischen Elementen
sowie der jeweiligen
Farbe, für die der
Satz steht, her. Um eine
möglichst große
Bandbreite zu erzeugen,
verwendete Philip Sparke
eine sehr umfangreiche
Instrumentierung
mittiefen Holzbläsern,
Harfe, Klavier und Celli.
A Colour Symphony
ist eine eindrucksvolle
und hervorragende
Ergänzung zum
Standardrepertoire für
sinfonisches
Blasorchester.
La terza sinfonia di
Philip Sparke, è stata
commissionata dalla
Sinfonischen
Blasorchester Wehdel di
Thomas Ratzek. Ciascuno
dei quattro movimenti
corrisponde a un colore
(bianco, giallo, blu e
rosso), in un
inarrestabile sinestetico
rincorrersi di suoni e
visioni.
L’orchestrazione
è di quelle imponenti:
legni, arpa, pianoforte e
violoncello svolgono una
parte fondamentale
nell’opera di
conferimento di ulteriore
rigoglio arrangiativo
alla sinfonia
sparkiana.
Les Marteaux de la Marine Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000258-140
Composed by Rob Goorhuis.
Score Only. 34 pages.
Gobelin Music
Publications #GOB
000258-140. Published by
Gobelin Music
Publications
(BT.GOB-000258-140).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Les Marteaux de la Marine Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000258-010
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000258-010. Published by
Gobelin Music
Publications
(BT.GOB-000258-010).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Marsyas ist ein
Satyr aus den
Metamorphosen des
griechischen Dichters
Ovid (43 v. Chr.-17 n.
Chr.). Er findet eine von
der Göttin Athene
weggeworfene Flöte und
spielt bald so gut, dass
ihn Apollo zu einem
musikalischen Wettstreit
zwischen Flöte und
Lyra herausfordert. Durch
einen üblen Trick
verliert Marsyas und
erleidet eine grausame
Strafe. Diese Sage bot
eine ausgezeichnete
Vorlage für ein
spannendes Solowerk
für Flöte, in
welchem auch die Harfe
(Lyra)
erklingt.
Marsyas ist ein
Satyr aus den
Metamorphosen des
griechischen Dichters
Ovid (43 v. Chr.-17 n.
Chr.). Er findet eine von
der Göttin Athene
weggeworfene Flöte und
spielt bald so gut, dass
ihn Apollo zu einem
musikalischen Wettstreit
zwischen Flöte und
Lyra herausfordert. Durch
einen üblen Trick
verliert Marsyas und
erleidet eine grausame
Strafe. Diese Sage bot
eine ausgezeichnete
Vorlage für ein
spannendes Solowerk
für Flöte, in
welchem auch die Harfe
(Lyra)
erklingt.
Concert Band/Harmonie and Flute - Grade 5 SKU: HL.44010560 Suite conce...(+)
Concert Band/Harmonie and
Flute - Grade 5
SKU:
HL.44010560
Suite
concertante pour
flute/piccolo solo, harp
obligee et Orchestre
d'Harmonie. Composed
by Maxime Aulio. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2009. De Haske
Publications #1094445.
Published by De Haske
Publications
(HL.44010560).
Marsyas ist ein
Satyr aus den
Metamorphosen des
griechischen Dichters
Ovid (43 v. Chr.-17 n.
Chr.). Er findet eine von
der Gottin Athene
weggeworfene Flote und
spielt bald so gut, dass
ihn Apollo zu einem
musikalischen Wettstreit
zwischen Flote und Lyra
herausfordert. Durch
einen üblen Trick
verliert Marsyas und
erleidet eine grausame
Strafe. Diese Sage bot
eine ausgezeichnete
Vorlage für ein
spannendes Solowerk
für Flote, in
welchem auch die Harfe
(Lyra)
erklingt.
Si les
recits de metamorphoses
furent tres populaires
dans l'Antiquite
greco-romaine, le recueil
du poete latin Ovide [43
av. J.-C./17 apr. J.-C.]
est de loin le plus
celebre. Les quinze
livres des
Metamorphoses
racontent la formation du
monde et les
transformations
legendaires des dieux et
des hommes en animaux, en
plantes ou en objets.
Parmi les nombreuses
histoires de
metamorphoses relatees
par Ovide, on trouve
celle de Marsyas, un
satyre originaire de
Celenes en Phrygie. Fils
d'Hyagnis, considere
comme l'inventeur de
l'harmonie phrygienne,
Marsyas excellait dans la
musique. Un jour, Athena
fit une flute double et
en joua a un banquet des
dieux. Tournee en
derisionpar Hera et
Aphrodite, et ayant
constate elle-meme, en
voyant le reflet de son
visage dans l'eau, que
l'instrument, quand elle
en jouait, lui deformait
les traits, elle jeta la
flute en maudissant
quiconque la ramasserait.
Cette malediction frappa
le satyre Marsyas qui la
trouva et en joua
magnifiquement, au grand
plaisir des paysans des
contrees phrygiennes qui
l'ecoutaient et qui
pretendirent que le dieu
Apollon en personne
n'aurait pu mieux faire
avec sa lyre. Apollon
entra dans une colere
formidable et proposa a
l'insolent satyre un
concours musical dont le
vainqueur pourrait faire
subir au vaincu le
chatiment de son choix.
Les Muses et le roi
Midas, choisis comme
juges, ne reussirent pas
a departager les
concurrents. Alors,
Apollon joua de la lyre a
l'envers et demanda a
Marsyas d'en faire autant
avec son instrument. Cela
etait impossible. Marsyas
n'y parvint pas, et
Apollon fut declare
vainqueur. Il se vengea
du satyre de la plus
cruelle facon : il
l'attacha a un pin et
l'ecorcha vif.Certains
racontent qu'Apollon, se
repentant de sa
vengeance, metamorphosa
en fleuve le corps de
Marsyas. D'autres
pretendent que le sang de
Marsyas ou les larmes
versees par les nymphes
et les satyres, prives
des enchantements de sa
flute, formerent le
fleuve de Phrygie qui
porte son nom. /
Marsyas fut cree
le 22 juillet 2005 a
Bordes sur Arize en
Ariege par le.
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 1.5
SKU:
BT.AMP-377-010
Composed by Philip
Sparke. Debut Series
(Anglo). Concert Piece.
Set (Score and Parts).
Composed 2013. Anglo
Music Press #AMP 377-010.
Published by Anglo Music
Press (BT.AMP-377-010).
9x12 inches.
English-German-French-Dut
ch.
England enjoys
a rich folk song
tradition. Composers such
as Cecil Sharp and
Vaughan Williams
rekindled an interest in
this heritage at the
beginning of the 20th
century by arranging
numerous songs, some of
which were transcribed
for the _x001F_first
time. Philip Sparke
selected three songs from
the 18th and 19 century
for his Three Folk
Song Miniatures: the
_x001F_shermanâ??s song
Dance to Your
Daddy, the love song
O Waly, Waly and
Bobby Shafto, a
song from the northwest
of
England.
Engeland
heeft een rijke traditie
op het gebied van
volksmuziek die door de
jaren heen een beetje in
de vergetelheid raakte.
Componisten als Cecil
Sharp en Vaughan Williams
brachten hierin
verandering door voor het
eerst talloze liederen
bundelen en soms zelfs
voor het eerst tenoteren
in modern notenschrift.
Philip Sparke koos voor
dit werk drie liederen
uit de 18e en 19e eeuw:
het visserslied Dance
to Your Daddy, het
liefdeslied O Waly,
Waly en Bobby
Shafto, een lied uit
het Noord-Westen van
Engeland.
England
kann auf eine lange
Volkslied-Tradition
zuru?ckblicken.
Komponisten wie Cecil
Sharp und Vaughan
Williams weckten Anfang
des 20. Jahrhunderts
erneut das Interesse an
diesem Erbe, indem sie
zahlreiche Lieder
sammelten und teilweise
erstmals notierten.
Philip Sparke wählte
fu?r seine drei
Volkslied-Miniaturenâ??
drei Lieder aus dem 18.
und 19. Jahrhundert: das
Fischerlied Dance to
Your Daddy, das
Liebeslied O Waly,
Waly und Bobby
Shafto, ein Lied aus
dem Nordwesten
Englands.
L
??Inghilterra è una
nazione ricca di canti
popolari. Allâ??inizio
del XX secolo,
compositori quali Cecil
Sharp e Vaughan Williams
risvegliarono
lâ??interesse verso
questa preziosa eredit
raccogliendo e in parte
arrangiando numerosi
canti. Philip Sparke ha
scelto per le sue â??tre
miniatureâ?,
altrettanti canti del
XIII e XIX secolo: la
canzone dei pescatori
Dance to Your Daddy, O
Waly, Waly, una
canzone dâ??amore e
Bobby Shafto, un
canto proveniente dalla
parte nord-occidentale
del paese.
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 1.5
SKU:
BT.AMP-377-140
Composed by Philip
Sparke. Debut Series
(Anglo). Concert Piece.
Score Only. Composed
2013. 40 pages. Anglo
Music Press #AMP 377-140.
Published by Anglo Music
Press (BT.AMP-377-140).
9x12 inches.
English-German-French-Dut
ch.
England enjoys
a rich folk song
tradition. Composers such
as Cecil Sharp and
Vaughan Williams
rekindled an interest in
this heritage at the
beginning of the 20th
century by arranging
numerous songs, some of
which were transcribed
for the _x001F_first
time. Philip Sparke
selected three songs from
the 18th and 19 century
for his Three Folk
Song Miniatures: the
_x001F_shermanâ??s song
Dance to Your
Daddy, the love song
O Waly, Waly and
Bobby Shafto, a
song from the northwest
of
England.
Engeland
heeft een rijke traditie
op het gebied van
volksmuziek die door de
jaren heen een beetje in
de vergetelheid raakte.
Componisten als Cecil
Sharp en Vaughan Williams
brachten hierin
verandering door voor het
eerst talloze liederen
bundelen en soms zelfs
voor het eerst tenoteren
in modern notenschrift.
Philip Sparke koos voor
dit werk drie liederen
uit de 18e en 19e eeuw:
het visserslied Dance
to Your Daddy, het
liefdeslied O Waly,
Waly en Bobby
Shafto, een lied uit
het Noord-Westen van
Engeland.
England
kann auf eine lange
Volkslied-Tradition
zuru?ckblicken.
Komponisten wie Cecil
Sharp und Vaughan
Williams weckten Anfang
des 20. Jahrhunderts
erneut das Interesse an
diesem Erbe, indem sie
zahlreiche Lieder
sammelten und teilweise
erstmals notierten.
Philip Sparke wählte
fu?r seine drei
Volkslied-Miniaturenâ??
drei Lieder aus dem 18.
und 19. Jahrhundert: das
Fischerlied Dance to
Your Daddy, das
Liebeslied O Waly,
Waly und Bobby
Shafto, ein Lied aus
dem Nordwesten
Englands.
L
??Inghilterra è una
nazione ricca di canti
popolari. Allâ??inizio
del XX secolo,
compositori quali Cecil
Sharp e Vaughan Williams
risvegliarono
lâ??interesse verso
questa preziosa eredit
raccogliendo e in parte
arrangiando numerosi
canti. Philip Sparke ha
scelto per le sue â??tre
miniatureâ?,
altrettanti canti del
XIII e XIX secolo: la
canzone dei pescatori
Dance to Your Daddy, O
Waly, Waly, una
canzone dâ??amore e
Bobby Shafto, un
canto proveniente dalla
parte nord-occidentale
del paese.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Concert Band SKU: HL.49015105 An American Folk Dance. Composed by ...(+)
Concert Band
SKU:
HL.49015105
An
American Folk Dance.
Composed by Wolfgang
Fortner. Edition Schott.
Classical. Study Score.
Composed 1952. 60 pages.
Schott Music #HL50486775.
Published by Schott Music
(HL.49015105).
ISBN
9781423442103. UPC:
884088247980. 305 X 229
inches.
Latin.
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed ina variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publicationbrings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur: 6:00.
Goodnight Moon Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
Arranged for Grade 3-4 Concert Band - Score Only. Composed by Eric Whitacre (1...(+)
Arranged for Grade 3-4
Concert
Band - Score Only.
Composed by
Eric Whitacre (1970-).
Arranged by Michael
Markowski.
Eric Whitacre Concert
Band.
Children, Concert.
Softcover.
Published by Hal Leonard
For Concert Band - Score Only. Composed by Eric Whitacre (1970-). Arranged by ...(+)
For Concert Band - Score
Only.
Composed by Eric Whitacre
(1970-). Arranged by
senbichler-Bryant and
Verena
Mö. Eric Whitacre
Concert
Band. Children, Concert
Band.
Softcover. 14 pages.
Published
by Hal Leonard
Concert Band; Orchestra
2(2nd dPicc).1.2.1:
2.2.2.0: Timp:Perc(2-3):
Str(9.8.7.6.5 in set)
SKU: AP.36-A932790
Arranged by Ralph Vaughan
Williams and ed./arr.
Gordon Jacob. Full
Orchestra. Kalmus
Orchestra Library. Folk;
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A932790.
Published by
LudwigMasters
Publications
(AP.36-A932790).
UPC:
676737829230.
English.
Ralph
Vaughan Williams'
(1872-1958) English Folk
Songs Suite, IRV 16,
consists of three
movements, the first two
of which are based on the
folk songs Seventeen Come
Sunday and My Bonny Boy;
the third adapts four
songs from the Somerset
region collected by Cecil
Sharp. The English Folk
Songs Suite quotes the
Christmas carol Dives and
Lazarus, which Vaughan
Williams later published
five variations of for
harp and string
orchestra. Gordon Jacob,
a student of Vaughan
Williams, arranged this
version for orchestra. An
earlier version of the
English Folk Songs Suite,
written for military
band, premiered at
Kneller Hall in
Twickenham, England in
July 1923.
Instrumentation: 2(2nd
dPicc).1.2.1: 2.2.2.0:
Timp:Perc(2-3):
Str(9.8.7.6.5 in set).
Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Concert Band; Orchestra
2(2nd dPicc).1.2.1:
2.2.2.0: Timp:Perc(2-3):
Str(9.8.7.6.5 in set)
SKU: AP.36-A932701
Arranged by Ralph Vaughan
Williams and ed./arr.
Gordon Jacob. Full
Orchestra. Kalmus
Orchestra Library. Folk;
Masterwork. Score.
LudwigMasters
Publications #36-A932701.
Published by
LudwigMasters
Publications
(AP.36-A932701).
ISBN
9798888520109. UPC:
676737736347.
English.
Ralph
Vaughan Williams'
(1872-1958) English Folk
Songs Suite, IRV 16,
consists of three
movements, the first two
of which are based on the
folk songs Seventeen Come
Sunday and My Bonny Boy;
the third adapts four
songs from the Somerset
region collected by Cecil
Sharp. The English Folk
Songs Suite quotes the
Christmas carol Dives and
Lazarus, which Vaughan
Williams later published
five variations of for
harp and string
orchestra. Gordon Jacob,
a student of Vaughan
Williams, arranged this
version for orchestra. An
earlier version of the
English Folk Songs Suite,
written for military
band, premiered at
Kneller Hall in
Twickenham, England in
July 1923.
Instrumentation: 2(2nd
dPicc).1.2.1: 2.2.2.0:
Timp:Perc(2-3):
Str(9.8.7.6.5 in set).
Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Concert Band (Score & Parts) SKU: HL.44012853 For Concert Band/Harmoni...(+)
Concert Band (Score &
Parts)
SKU:
HL.44012853
For
Concert Band/Harmonie
(Score and Parts).
Composed by Philip
Sparke. Anglo Music
Concert Band. Softcover.
Anglo Music Press
#AMP403010. Published by
Anglo Music Press
(HL.44012853).
Philip Sparke s
third symphony, A Colour
Symphony, was
commissioned by
sinfonischen
blasorchester wehdel
conducted by Thomas
Ratzek. In the four
movements (white, yellow,
blue and red) the
composer creates links
between the
instrumentation and
harmonic elements and the
actual colour of the
spectrum the movement
stands for. In order to
create the greatest
richness possible, Philip
Sparke used a very large
instrumentation including
low woodwinds, harp,
piano and celli. A Colour
Symphony is an impressive
and iconic addition to
the standard repertoire
for large symphonic
bands. Philip Sparke s
third symphony, A Colour
Symphony, was
commissioned by
sinfonischen
blasorchester wehdel
conducted by Thomas
Ratzek. In the five
movements (white, yellow,
blue, red and green) the
composer creates links
between the
instrumentation and
harmonic elements and the
actual colour of the
spectrum the movement
stands for. In order to
create the greatest
richness possible, Philip
Sparke used a very large
instrumentation including
low woodwinds, harp,
piano and celli. A Colour
Symphony is an impressive
and iconic addition to
the standard repertoire
for large symphonic
bands.
Concert Band (Score) SKU: HL.44012854 For Concert Band/Harmonie (Full ...(+)
Concert Band (Score)
SKU: HL.44012854
For Concert
Band/Harmonie (Full Score
Only). Composed by
Philip Sparke. Anglo
Music Concert Band.
Softcover. Anglo Music
Press #AMP403140.
Published by Anglo Music
Press (HL.44012854).
UPC:
888680655716.
Phili
p Sparkes third symphony,
A Colour Symphony, was
commissioned by
sinfonischen
blasorchester wehdel
conducted by Thomas
Ratzek. In the four
movements (white, yellow,
blue and red) the
composer creates links
between the
instrumentation and
harmonic elements and the
actual colour of the
spectrum the movement
stands for. In order to
create the greatest
richness possible, Philip
Sparke used a very large
instrumentation including
low woodwinds, harp,
piano and celli. A Colour
Symphony is an impressive
and iconic addition to
the standard repertoire
for large symphonic
bands. Philip Sparkes
third symphony, A Colour
Symphony, was
commissioned by
sinfonischen
blasorchester wehdel
conducted by Thomas
Ratzek. In the five
movements (white, yellow,
blue, red and green) the
composer creates links
between the
instrumentation and
harmonic elements and the
actual colour of the
spectrum the movement
stands for. In order to
create the greatest
richness possible, Philip
Sparke used a very large
instrumentation including
low woodwinds, harp,
piano and celli. A Colour
Symphony is an impressive
and iconic addition to
the standard repertoire
for large symphonic
bands.