Blue Mountain Miracle Orchestre d'harmonie [Conducteur et Parties séparées] Gobelin Music Publications
Concert Band/Harmonie - easy SKU: BT.GOB-001209-010 Composed by Marc Cunn...(+)
Concert Band/Harmonie -
easy
SKU:
BT.GOB-001209-010
Composed by Marc
Cunningham. Challenger
Series. Set (Score &
Parts). Composed 2014. 16
pages. Gobelin Music
Publications #GOB
001209-010. Published by
Gobelin Music
Publications
(BT.GOB-001209-010).
English-German-French-
Dutch.
The Blue
Mountains are a
breathtaking mountain and
forest landscape in the
New South Wales,
Australia. This work came
about above all inspired
by Weeping Rock, an
overhanging rock that
gets its name from the
waterfall that flows over
it.
The Blue
Mountains bevinden zich
in New South Wales in
Australië. Ze vormen een
adembenemend landschap
van wouden en
rotspartijen. Dit werk
verklankt vooral de
beroemde overhangende
rots Weeping Rock, die
met een onafgebroken
stroom water lijkt
tehuilen – vandaar
de naam.
Die Blue
Mountains sind eine
atemberaubende Wald- und
Berglandschaft im
australischen Bundesstaat
New South Wales. Dieses
Werk entstand vor allem
unter dem Eindruck eines
beruhmten uberhängenden
Felsen namens Weeping
Rock, der so von einem
Wasserfallumspult ist,
dass er zu weinen
scheint.
Les
Montagnes Bleues, en
Nouvelle-Galles du Sud
(Australie), forment une
chaîne montagneuse
parsemée de lacs et de
forêts. Cette pièce a
été inspirée, avant
tout, par Weeping Rock
(rocher pleureur), un
rocher en surplomb qui
tire son nom de lacascade
qui ruisselle dessus.
Le Blue Mountains
sono un paesaggio montano
e forestale mozzafiato
del New South Wales, in
Australia. Il compositore
si è lasciato ispirare
soprattutto alla Weeping
Rock, una roccia a
strapiombo che prende il
nome dalla cascata che vi
scorre sopra.
Cleopatra Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-140 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-140
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2021. 39 pages.
De Haske Publications
#DHP 1216342-140.
Published by De Haske
Publications
(BT.DHP-1216342-140).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
Cleopatra Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-010 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-010
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216342-010. Published by
De Haske Publications
(BT.DHP-1216342-010).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
Bleak Forest Orchestre d'harmonie - Facile Hal Leonard
Score and Parts Concert Band (Score & Parts) - Level 2.5 SKU: HL.4008548 ...(+)
Score and Parts Concert
Band (Score & Parts) -
Level 2.5
SKU:
HL.4008548
Concert
Band, Grade 2.4 6:00
Score and Parts.
Composed by Andreas
Ziegelbä and ck.
Symphonic Dimensions.
Concert. Softcover. 107
pages. Duration 360
seconds. Hal Leonard
#SDP1972302. Published by
Hal Leonard (HL.4008548).
ISBN 9798350110371.
UPC:
196288179177.
Bleak
Forest is a piece for
smaller concert bands and
offers the musicians
above all space to
improve their sound and
their effect playing. The
technical requirements
are therefore
deliberately kept low.
With this piece, the
composer won the VLAMO
International Composition
Contest 2022.
Thematically, the work is
influenced by the
composer's childhood
memories. In his hometown
there was a dark and
mysterious forest, that
seemed to the children in
the small village to be
magical. Without a
reasonable explanation,
every trip into the woods
was exciting and somewhat
terrifying. There were
tales of dangerous
animals, which can be
heard at the beginning of
the piece, as well as
magical beasts. The magic
of the forest is depicted
musically from bar 70 in
the andante section. The
snapping of the fingers
represents single
raindrops. From bar 99
onwards, we hear the trek
home, with the occasional
moments of trepidation as
the children spook each
other with their fanciful
tales. In the end,
though, we arrive safely
at home because after
all, magical beasts only
exist in fairy tales
donÂ’t they? Andreas
Ziegelbäck studied
music education at the
Mozarteum University in
Salzburg, and history at
the Paris Lodron
Universität, Salzburg.
In addition to his
studies, he trained in
ensemble conducting for
wind orchestra with
conductor and composer
Thomas Doss. It was Doss
who sparked
Ziegelbäck's interest
in composing. In 2021,
Andreas Ziegelbäck
completed his composition
studies with Johannes
Maria Staud. In 2020, he
took part in a brass band
composition masterclass
in Bern with Oliver
Waespi, followed by a
premiere by the Swiss
Army Brass Band.
Bleak Forest Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
Score and Parts Concert Band (Score & Parts) - Level 2.5 SKU: HL.4008983 ...(+)
Score and Parts Concert
Band (Score & Parts) -
Level 2.5
SKU:
HL.4008983
Concert
Band, Grade 2.5 6:00
Score and Parts.
Composed by Andreas
Ziegelbä and ck.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 360
seconds. Hal Leonard
#SDP293-24-202. Published
by Hal Leonard
(HL.4008983).
UPC:
196288283775.
Bleak
Forest is a piece for
smaller concert bands and
offers the musicians
above all space to
improve their sound and
their effect playing. The
technical requirements
are therefore
deliberately kept low.
With this piece, the
composer won the VLAMO
International Composition
Contest 2022.
Thematically, the work is
influenced by the
composer's childhood
memories. In his hometown
there was a dark and
mysterious forest, that
seemed to the children in
the small village to be
magical. Without a
reasonable explanation,
every trip into the woods
was exciting and somewhat
terrifying. There were
tales of dangerous
animals, which can be
heard at the beginning of
the piece, as well as
magical beasts. The magic
of the forest is depicted
musically from bar 70 in
the andante section. The
snapping of the fingers
represents single
raindrops. From bar 99
onwards, we hear the trek
home, with the occasional
moments of trepidation as
the children spook each
other with their fanciful
tales. In the end,
though, we arrive safely
at home because after
all, magical beasts only
exist in fairy tales
dont they? Andreas
Ziegelbäck studied music
education at the
Mozarteum University in
Salzburg, and history at
the Paris Lodron
Universität, Salzburg.
In addition to his
studies, he trained in
ensemble conducting for
wind orchestra with
conductor and composer
Thomas Doss. It was Doss
who sparked Ziegelbäck's
interest in composing. In
2021, Andreas Ziegelbäck
completed his composition
studies with Johannes
Maria Staud. In 2020, he
took part in a brass band
composition masterclass
in Bern with Oliver
Waespi, followed by a
premiere by the Swiss
Army Brass Band.
Concert
Band, Grade 2.5 6:00
Score and Parts.
Composed by Andreas
Ziegelbä and ck.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 360
seconds. Hal Leonard
#SDP293-24-201. Published
by Hal Leonard
(HL.4008984).
UPC:
196288283782.
Bleak
Forest is a piece for
smaller concert bands and
offers the musicians
above all space to
improve their sound and
their effect playing. The
technical requirements
are therefore
deliberately kept low.
With this piece, the
composer won the VLAMO
International Composition
Contest 2022.
Thematically, the work is
influenced by the
composer's childhood
memories. In his hometown
there was a dark and
mysterious forest, that
seemed to the children in
the small village to be
magical. Without a
reasonable explanation,
every trip into the woods
was exciting and somewhat
terrifying. There were
tales of dangerous
animals, which can be
heard at the beginning of
the piece, as well as
magical beasts. The magic
of the forest is depicted
musically from bar 70 in
the andante section. The
snapping of the fingers
represents single
raindrops. From bar 99
onwards, we hear the trek
home, with the occasional
moments of trepidation as
the children spook each
other with their fanciful
tales. In the end,
though, we arrive safely
at home because after
all, magical beasts only
exist in fairy tales
dont they? Andreas
Ziegelbäck studied music
education at the
Mozarteum University in
Salzburg, and history at
the Paris Lodron
Universität, Salzburg.
In addition to his
studies, he trained in
ensemble conducting for
wind orchestra with
conductor and composer
Thomas Doss. It was Doss
who sparked Ziegelbäck's
interest in composing. In
2021, Andreas Ziegelbäck
completed his composition
studies with Johannes
Maria Staud. In 2020, he
took part in a brass band
composition masterclass
in Bern with Oliver
Waespi, followed by a
premiere by the Swiss
Army Brass Band.
Concert Band (Score & Parts) SKU: HL.4008643 Score and Parts. Comp...(+)
Concert Band (Score &
Parts)
SKU:
HL.4008643
Score
and Parts. Composed
by Franco Cesarini.
Arranged by Franco
Cesarini. Editions Franco
Cesarini. Concert Band,
Tuning, Warm-Up.
Softcover. Hal Leonard
#EFC003-CBHA. Published
by Hal Leonard
(HL.4008643).
ISBN
9798350114997. UPC:
196288189664.
Durin
g his experience as a
band conductor and
teacher of wind orchestra
conducting at university,
Franco Cesarini has dealt
with the topic of
warm-ups very frequently.
Throughout these long
years of conducting he
has had the opportunity
to try many existing
methods, evaluating their
advantages and
disadvantages. After a
long time, he has decided
to compile a collection
of chorales for warm-ups,
which are organized
according to the criteria
that he considers most
effective. While working
on his60 Warm-up Chorales
for Concert Band, Franco
Cesarini has always borne
in mind that amateur
musicians play for
pleasure. He feels that
it is extremely important
that they have
satisfaction at every
moment of the rehearsal
and not to start the
rehearsal with needless
“punishingâ€
exercises. Nobody is
really motivated to start
playing with scales, long
notes, or tricky
rhythmical exercises.
There is often a
distinguished absentee in
band rehearsals, namely
music itself! Although
this publication does not
foresee a specific tempo
for the chorales, they
should often be performed
rather slowly but without
dragging. Dynamics are
not indicated, so that
the conductor has the
opportunity to draw the
attention of the
musicians to his gestures
and to make them react
according to his
indications. Timpani and
bell parts have been
added with the aim of not
leaving the
percussionists completely
inactive during the
warm-up phase, but can
also be omitted. The
chorales are written in
four parts (SATB) and are
also playable in smaller
groups. The four voices
can be played in
different combinations of
woodwinds or brass
quartets or in mixed
combinations. The
collection includes ten
chorales for the
following keys: D flat
major, A flat major, E
flat major, B flat major,
F major and C major. With
his 60 Warm-up Chorales
Franco Cesarini would
like to convey the
message to play the
chorales in a musical
way, thus raising the
musiciansÂ’awareness
of phrasing, the right
interpretation of
cadences, rubato and
agogic. Above all, never
do anything
withoutputting the
musical aspect in the
foreground.
Concert Band (Full Score) SKU: HL.4007483 Score. Composed by Franc...(+)
Concert Band (Full Score)
SKU: HL.4007483
Score. Composed by
Franco Cesarini. Arranged
by Franco Cesarini.
Editions Franco Cesarini.
Concert Band, Tuning,
Warm-Up. Softcover. Hal
Leonard #EFC003-SC.
Published by Hal Leonard
(HL.4007483).
UPC:
196288058175.
Durin
g his experience as a
band conductor and
teacher of wind orchestra
conducting at university,
Franco Cesarini has dealt
with the topic of
warm-ups very frequently.
Throughout these long
years of conducting he
has had the opportunity
to try many existing
methods, evaluating their
advantages and
disadvantages. After a
long time, he has decided
to compile a collection
of chorales for warm-ups,
which are organized
according to the criteria
that he considers most
effective. While working
on his60 Warm-up Chorales
for Concert Band, Franco
Cesarini has always borne
in mind that amateur
musicians play for
pleasure. He feels that
it is extremely important
that they have
satisfaction at every
moment of the rehearsal
and not to start the
rehearsal with needless
“punishingâ€
exercises. Nobody is
really motivated to start
playing with scales, long
notes, or tricky
rhythmical exercises.
There is often a
distinguished absentee in
band rehearsals, namely
music itself! Although
this publication does not
foresee a specific tempo
for the chorales, they
should often be performed
rather slowly but without
dragging. Dynamics are
not indicated, so that
the conductor has the
opportunity to draw the
attention of the
musicians to his gestures
and to make them react
according to his
indications. Timpani and
bell parts have been
added with the aim of not
leaving the
percussionists completely
inactive during the
warm-up phase, but can
also be omitted. The
chorales are written in
four parts (SATB) and are
also playable in smaller
groups. The four voices
can be played in
different combinations of
woodwinds or brass
quartets or in mixed
combinations. The
collection includes ten
chorales for the
following keys: D flat
major, A flat major, E
flat major, B flat major,
F major and C major. With
his 60 Warm-up Chorales
Franco Cesarini would
like to convey the
message to play the
chorales in a musical
way, thus raising the
musiciansÂ’awareness
of phrasing, the right
interpretation of
cadences, rubato and
agogic. Above all, never
do anything
withoutputting the
musical aspect in the
foreground.
Analecta Varia Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000919-140 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000919-140
Composed by Harrie
Janssen. Score Only. 80
pages. Gobelin Music
Publications #GOB
000919-140. Published by
Gobelin Music
Publications
(BT.GOB-000919-140).
Harrie Janssen
composed Analecta Varia
in memory of Henk van
Lijnschooten
(1928-2006). He has
been of great influence
on the Dutch music for
wind instruments. As
a conductor and as a
member of the jury, but
above all as a prominent
composer. Consists of
eight sound studies that
can also be performed
separately. In each part
a particular orchestral
aspect is the central
point.
The eight
parts 1.
Choral: ensemble
in monophonic
texture. 2.
Air: relatively free
line patterns combined
with a constant
pulse. 3.
Pavana: constant
rhythmicity culminating
in an orchestral
tutti. 4.
Lullaby: dissonant
harmonyabove an organ
point in a filigree
instrumentation. 5.
Chaconne: color
and virtuosity combined
with a rigid pasacaglian
theme. 6.
Interlude: antithesis
woodwind/brass and
followed by a synthesis
of the before. 7.
Fugue: ensemble in a
polyphonic texture.
8. Epilogue:
final canto in a
preponderating strong
dynamic, where a constant
euphony has to be
pursued.
Analecta
Varia bestaat uit acht
klankstudies die ook
afzonderlijk utgevoerd
kunnen worden. In iedere
deel wordt een bepaald
orkestraal facet centraal
gesteld. Harrie
Janssen componeerde
Analecta Varia ter
nagedachtenis aan Henkvan
Lijnschooten (1928-2006).
Henk van Lijnschooten
heeft zich bijzonder
verdienstelijk gemaakt
voor de Nederlandse
blaasmuziek, als
dirigent, jurylid maar
vooral als zeer
toonaangevend
componist.
1.
Chorale:
Samenspelin een homofone
textuur. 2.
Air: Relatief vrij
lijnenspel gecombineerd
met een constante
puls. 3.
Pavana: Constante
ritmiek culminerend in
een orkestraal tutti.
4. Lullaby:
Dissonate
samenklankenboven een
orgelpunt in een
filigraine
instrumentatie. 5.
Chaconne: Kleur en
virtuositeit gecombineerd
met een rigide pasacaglia
thema. 6.
Interlude:
Tegenstelling Hout/Koper
en een synthese
hiervan. 7.
Fuga: Samenspel in
een polyfone textuur.
8. Epilogue:
Slotzang in een
overwegend sterke
dynamiek, waarbij een
constante welluidendheid
nagestreefd dient te
worden.
Analecta Varia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000919-010 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000919-010
Composed by Harrie
Janssen. Set (Score &
Parts). 44 pages. Gobelin
Music Publications #GOB
000919-010. Published by
Gobelin Music
Publications
(BT.GOB-000919-010).
Harrie Janssen
composed Analecta Varia
in memory of Henk van
Lijnschooten
(1928-2006). He has
been of great influence
on the Dutch music for
wind instruments. As
a conductor and as a
member of the jury, but
above all as a prominent
composer. Consists of
eight sound studies that
can also be performed
separately. In each part
a particular orchestral
aspect is the central
point.
The eight
parts 1.
Choral: ensemble
in monophonic
texture. 2.
Air: relatively free
line patterns combined
with a constant
pulse. 3.
Pavana: constant
rhythmicity culminating
in an orchestral
tutti. 4.
Lullaby: dissonant
harmonyabove an organ
point in a filigree
instrumentation. 5.
Chaconne: color
and virtuosity combined
with a rigid pasacaglian
theme. 6.
Interlude: antithesis
woodwind/brass and
followed by a synthesis
of the before. 7.
Fugue: ensemble in a
polyphonic texture.
8. Epilogue:
final canto in a
preponderating strong
dynamic, where a constant
euphony has to be
pursued.
Analecta
Varia bestaat uit acht
klankstudies die ook
afzonderlijk utgevoerd
kunnen worden. In iedere
deel wordt een bepaald
orkestraal facet centraal
gesteld. Harrie
Janssen componeerde
Analecta Varia ter
nagedachtenis aan Henkvan
Lijnschooten (1928-2006).
Henk van Lijnschooten
heeft zich bijzonder
verdienstelijk gemaakt
voor de Nederlandse
blaasmuziek, als
dirigent, jurylid maar
vooral als zeer
toonaangevend
componist.
1.
Chorale:
Samenspelin een homofone
textuur. 2.
Air: Relatief vrij
lijnenspel gecombineerd
met een constante
puls. 3.
Pavana: Constante
ritmiek culminerend in
een orkestraal tutti.
4. Lullaby:
Dissonate
samenklankenboven een
orgelpunt in een
filigraine
instrumentatie. 5.
Chaconne: Kleur en
virtuositeit gecombineerd
met een rigide pasacaglia
thema. 6.
Interlude:
Tegenstelling Hout/Koper
en een synthese
hiervan. 7.
Fuga: Samenspel in
een polyfone textuur.
8. Epilogue:
Slotzang in een
overwegend sterke
dynamiek, waarbij een
constante welluidendheid
nagestreefd dient te
worden.
Charles Chaplin Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Molenaar Edition
(Selection For Concert Band). By Marcel Peeters. For Concert Band. Arrangements ...(+)
(Selection For Concert
Band). By Marcel Peeters.
For Concert Band.
Arrangements of Modern
Light Music / The 20ties
/ Film / Selections of
Opera/Musical/Movies/TV.
Movie and Musical. Grade
4. Score and Parts.
Duration 11 minutes, 26
seconds. Published by
Molenaar Edition
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Two Symphonic Interludes Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-010 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000915-010
Composed by Harrie
Janssen. Set (Score &
Parts). Gobelin Music
Publications #GOB
000915-010. Published by
Gobelin Music
Publications
(BT.GOB-000915-010).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie, gebaseerd
op de taal van de gewone
man. Het was een reactie
op de aan strenge regels
gebonden poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
Two Symphonic Interludes Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-140 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000915-140
Composed by Harrie
Janssen. Score Only.
Gobelin Music
Publications #GOB
000915-140. Published by
Gobelin Music
Publications
(BT.GOB-000915-140).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie,
gebaseerd op de taal van
de gewone man. Het was
een reactie op de aan
strenge regels gebonden
poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
Arranged by Erich
Wolfgang Korngold, R.
Mark Rogers, and ed./arr.
Leo Artok. Full
Orchestra. Kalmus
Masterworks Library.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A929590.
Published by
LudwigMasters
Publications
(AP.36-A929590).
UPC:
735816239411.
English.
When Max
Reinhardt was engaged to
direct a German language
production of
Shakespeare's Much Ado
About Nothing at the
Vienna Volksbühne in
1918, he asked Korngold
to compose the incidental
music. The production,
under the German title
Viel Lärmen um Nichts
did not open until May 6,
1920 at the Schönbrunn
Palace Theater. In the
pit, the composer led
members of the Vienna
Philharmonic, performing
no less than 18 pieces of
music. In the meantime,
due to the tardy premiere
of the play, Korngold had
already extracted a
five-movement orchestral
suite which garnered much
praise when performed
three months before the
play's opening night. The
five movements included:
1. the Overture; 2. Scene
in the Bridal Chamber; 3.
Holzapfel und Schlehwein
(a mock-serious scene);
4. Intermezzo (Garden
Scene); and 5. Hornpipe.
When the play moved to
Vienna's Burgtheater
(more than 80
performances) and later
to the Rezidenz Theater
in Munich, the music
continued to attract much
attention. Demand for the
music was such that
Korngold arranged the
suite into versions for
violin and piano (four
pieces), and for solo
piano (three pieces).
German composer-arranger
Leo Artok (1885-1935)
arranged the most popular
three items (1. Hornpipe;
2. Garden Scene; and 3.
In the Bridal Chamber)
for small orchestra,
which were then published
by Schott in 1926. This
newly engraved edition of
the Artok arrangement,
offered with a new full
score for the first time,
has been completed by R.
Mark Rogers. All editions
noted above are available
from the publisher.
Instrumentation: 1.1.2.1:
2.2.1.0:
Timp.Perc(2).Harm: Str
(9.8.7.6.5 in set).
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.
Arranged by Erich
Wolfgang Korngold, R.
Mark Rogers, and ed./arr.
Leo Artok. Full
Orchestra. Kalmus
Masterworks Library.
Masterwork. Score.
LudwigMasters
Publications #36-A929501.
Published by
LudwigMasters
Publications
(AP.36-A929501).
ISBN
9781638875192. UPC:
735816239497.
English.
When Max
Reinhardt was engaged to
direct a German language
production of
Shakespeare's Much Ado
About Nothing at the
Vienna Volksbühne in
1918, he asked Korngold
to compose the incidental
music. The production,
under the German title
Viel Lärmen um Nichts
did not open until May 6,
1920 at the Schönbrunn
Palace Theater. In the
pit, the composer led
members of the Vienna
Philharmonic, performing
no less than 18 pieces of
music. In the meantime,
due to the tardy premiere
of the play, Korngold had
already extracted a
five-movement orchestral
suite which garnered much
praise when performed
three months before the
play's opening night. The
five movements included:
1. the Overture; 2. Scene
in the Bridal Chamber; 3.
Holzapfel und Schlehwein
(a mock-serious scene);
4. Intermezzo (Garden
Scene); and 5. Hornpipe.
When the play moved to
Vienna's Burgtheater
(more than 80
performances) and later
to the Rezidenz Theater
in Munich, the music
continued to attract much
attention. Demand for the
music was such that
Korngold arranged the
suite into versions for
violin and piano (four
pieces), and for solo
piano (three pieces).
German composer-arranger
Leo Artok (1885-1935)
arranged the most popular
three items (1. Hornpipe;
2. Garden Scene; and 3.
In the Bridal Chamber)
for small orchestra,
which were then published
by Schott in 1926. This
newly engraved edition of
the Artok arrangement,
offered with a new full
score for the first time,
has been completed by R.
Mark Rogers. All editions
noted above are available
from the publisher.
Instrumentation: 1.1.2.1:
2.2.1.0:
Timp.Perc(2).Harm: Str
(9.8.7.6.5 in set).
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.
Joy Revisited Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor Full Score.
Duration 3:30
Three Onegin Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1012918-010 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1012918-010
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Wil van der Beek. The
Great Classics. Set
(Score & Parts). Composed
2001. De Haske
Publications #DHP
1012918-010. Published by
De Haske Publications
(BT.DHP-1012918-010).
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
scenesâ€. 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.
Tchaikowsky ist
berühmt für seine
rein instrumentalen
Kompositionen. Er ist
jedoch auch als
Opernkomponist nicht zu
unterschätzen.Viele
seiner OPern werden
immoernoch
regelmäßig auf der
ganzen Welt
aufgeführt, wie zum
Beispiel Pique
Dame und Eugen
OneginEugen
Onegin wurde in den
Jahren 1877 bis 1878
komponiert und von
Tschaikowsky selbst
zunächst nicht als
Oper, sondern als
lyrische Szenen betitelt.
Der lyrische Charakter
ist im ganzen Werk
vorherrschend. Zwei
Stellen kontrastieren
jedoch deutlich mit
dieser Lyrik: zwei
Ballszenen ,für die
Tschaikowsky einen Walzer
uns eine Polonaise
schrieb.Nach einem
weniger bekannten Allegro
Dansant als
Eröffung,stellt dieses
Arrangement vor allem den
oben genannten Walzer in
den Vordergrund, welcher
guten Herzens als ein
schönes russisches
Gegenstück zu Charles
Gounods
Faustwalzer
bezeichnet werden kann.
In der Oper wird dieser
Walzer von einer
Militärkapelle
gespielt. Das Arrangement
schließt mit der
erwähnten pompösen
Polonaise, die den
letztzen Akt eröffnet:
die ideale Musik, um ein
Bild des Hochadels im
Salon eines Petersburger
Palastes zu zeichnen.
Concert
Band, Grade 3.5, 4:45
Score. Composed by
Wilhelm Stenhammar.
Arranged by Franco
Cesarini. Editions Franco
Cesarini. Classical,
Concert Band. Softcover.
Duration 285 seconds. Hal
Leonard #EFC026-SC.
Published by Hal Leonard
(HL.4008690).
UPC:
196288190455.
Wilhe
lm Stenhammar (1871-1927)
was a Swedish pianist,
conductor and composer.
His compositions include
incidental music, operas,
concerts, two symphonies
and choral works.
Initially influenced
above all by Wagner and
Bruckner, Stenhammar
increasingly welcomed in
his music a Nordic colour
as well as melodic and
rhythmic characters
typical of Swedish
folklore. Completed in
1921, the cantata
SÃ¥ngen (The Song) was
Stenhammar's last major
work, and its combination
of harmonic richness and
contrapuntal dexterity
ensured it awarm
reception. The Interlude
connecting the two halves
of the work is the only
part frequently performed
today. It begins by
creating a serious
andintimate atmosphere,
then the music gradually
unfolds in increasingly
powerful sonorities.
Towards the middle a
noble brass chorale
emerges, but neither this
nor the following finely
crafted climax manage to
change the prevailing
mood of subtle melancholy
typical of late Romantic
Scandinavian composers.
This arrangement by
Franco Cesarini will
allow your audience to
get to know this great
composer unknown to
most.
Above The Line Orchestre d'harmonie [Conducteur et Parties séparées] - Facile RWS Music Company
Grade 3 SKU: CL.RWS-2012-00 Galop. Composed by Newton. Concert Ban...(+)
Grade 3
SKU:
CL.RWS-2012-00
Galop. Composed by
Newton. Concert Band. RWS
Symphony Band Series.
Score and set of parts.
Composed 2020. Duration 1
minute, 53 seconds. RWS
Music Company
#RWS-2012-00. Published
by RWS Music Company
(CL.RWS-2012-00).
This will be an
audience favorite to open
or close your next
concert! The appeal of
this energetic and
contemporary march stands
out immediately due to
playful harmonies and
lively melodic lines.
Bryce Newton's attention
to scoring ensures that
all sections will enjoy
performing the piece. The
concept of living Above
the Line lends itself to
character development and
other valuable teaching
opportunities with your
students. A fresh and
exciting march for your
next concert!
Rio Grande Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daughe...(+)
For Symphonic
Band. Composed by
Michael Daugherty
(1954-). Michael
Daugherty Music.
Contemporary. Softcover.
96 pages. Published by
Hal Leonard (HL.4004651).
An American Elegy Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for high school, community, and college...(+)
By Frank Ticheli. Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 11:10. Published
by Manhattan Beach Music.
An American Elegy Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for high school, community, and college...(+)
By Frank Ticheli. Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor Full
Score. Duration 11:10.
Published by Manhattan
Beach Music.
Score Only Concert Band (Score) - Grade 3 SKU: HL.4006591 Composed by Rob...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4006591
Composed
by Robert Buckley.
MusicWorks Grade 3.
Contest, Festival.
Softcover. 36 pages.
Duration 195 seconds.
Published by Hal Leonard
(HL.4006591).
UPC:
840126916713.
9.0x12.0x0.092
inches.
Written as
a celebratory piece,
Above and Beyond is a
stirring overture that
explodes with energy and
enthusiasm - a tribute to
the quest for the
extraordinary and the
desire to do more than is
required. Built around
three distinct themes
which are organically
developed, the work
contains powerful and
triumphant melodies,
driving percussion,
dynamic contrasts and a
marvelous cantabile. This
exhilarating concert
opener exemplifies joy
and spirit.
Prayer of St. Gregory Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000212-010 Arranged by Klaa...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000212-010
Arranged by Klaas van der
Woude. Set (Score &
Parts). 8 pages. Gobelin
Music Publications #GOB
000212-010. Published by
Gobelin Music
Publications
(BT.GOB-000212-010).
The sound of
this arrangement of the
well-known American song
Make me a Channel of your
Peace is remote, simple
and above all exquisitely
beautiful. It is a
highly accessible piece
that will gently capture
the hearts of musicians
and audience alike.
The ideal piece for a
restful interlude in your
concert programme
Introvert,
eenvoudig en bovenal
wonderschoon zijn de
klanken van van deze
bewerking van het bekende
Amerikaanse lied 'Make me
a Channel of your Peace'.
Met dit zeer
toegankelijke, voor
iedereen te spelen werk,
verovert u op
eenvoudigewijze de harten
van zowel spelers als
luisteraars. Een
echte aanrader om als
rustpunt in uw
concertprogramma te
gebruiken.
Two Slavonic Dances Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000354-140 Composed by Antoni...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000354-140
Composed by Antonin
Dvorak. Arranged by Jan
Bosveld. Score Only. 26
pages. Gobelin Music
Publications #GOB
000354-140. Published by
Gobelin Music
Publications
(BT.GOB-000354-140).
Czech composer
Antonin Dvorak is
best-known for his
beautiful
string-quartets, his
symphonies (especially
nr.9 'From the New
World'), and his Slavonic
Dances Op. 46 and 72.
Dutch composer and
arrranger Jan Bosveld
adapted two dances (nrs.
4 and 7) from his opus 46
to the wind-band medium.
Alternating between
the virtuoso and the
melancholy, these lovely
little pieces for
orchestra above all
provoke responses of
instant recognition with
your audiences. Uit de
Slavische Dansen Opus 46
bewerkte Jan Bosveld op
kleurrijke wijze de 4e en
6e dans. De weemoed,
passie en vreugde straalt
af van zijn prachtige
muziek, en nu dus ook
voor
concertband.
Prayer of St. Gregory Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000212-140 Arranged by Klaa...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000212-140
Arranged by Klaas van der
Woude. Score Only. 8
pages. Gobelin Music
Publications #GOB
000212-140. Published by
Gobelin Music
Publications
(BT.GOB-000212-140).
The sound of
this arrangement of the
well-known American song
Make me a Channel of your
Peace is remote, simple
and above all exquisitely
beautiful. It is a
highly accessible piece
that will gently capture
the hearts of musicians
and audience alike.
The ideal piece for a
restful interlude in your
concert programme
Introvert,
eenvoudig en bovenal
wonderschoon zijn de
klanken van van deze
bewerking van het bekende
Amerikaanse lied 'Make me
a Channel of your Peace'.
Met dit zeer
toegankelijke, voor
iedereen te spelen werk,
verovert u op
eenvoudigewijze de harten
van zowel spelers als
luisteraars. Een
echte aanrader om als
rustpunt in uw
concertprogramma te
gebruiken.
Two Slavonic Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000354-010 Composed by Antoni...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000354-010
Composed by Antonin
Dvorak. Arranged by Jan
Bosveld. Set (Score &
Parts). 170 pages.
Gobelin Music
Publications #GOB
000354-010. Published by
Gobelin Music
Publications
(BT.GOB-000354-010).
Czech composer
Antonin Dvorak is
best-known for his
beautiful
string-quartets, his
symphonies (especially
nr.9 'From the New
World'), and his Slavonic
Dances Op. 46 and 72.
Dutch composer and
arrranger Jan Bosveld
adapted two dances (nrs.
4 and 7) from his opus 46
to the wind-band medium.
Alternating between
the virtuoso and the
melancholy, these lovely
little pieces for
orchestra above all
provoke responses of
instant recognition with
your audiences. Uit de
Slavische Dansen Opus 46
bewerkte Jan Bosveld op
kleurrijke wijze de 4e en
6e dans. De weemoed,
passie en vreugde straalt
af van zijn prachtige
muziek, en nu dus ook
voor
concertband.