Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-340-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-340-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2012. 44 pages.
Anglo Music Press #AMP
340-140. Published by
Anglo Music Press
(BT.AMP-340-140).
9x12
inches.
English-German-French-Dut
ch.
Of Skies,
Rivers, Lakes and
Mountains was
commissioned by the
Northern California Band
Directors' Association to
honour their 50th
Anniversary in 2012. The
first performance was
given by the
Association’s 2012
Honor Band, conducted by
Dr Royce Trevis, in the
Harlen Adams Theater,
California State
University, Chico,
California, on 4th
February that year.The
brief for the commission
asked for a piece that
celebrated the United
States’ natural
resources and composer
Philip Sparke turned to
Katharine Lee
Bates’s lyrics for
the song America the
Beautiful, of which
the first and last verses
are:O beautiful for
spacious skies,For amber
waves of grain,For
purplemountain
majestiesAbove the
fruited plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaThe three
movements each take their
title from these
verses:1. O Beautiful
for Spacious Skies:
Opening with filigree
woodwind figuring, this
movement aims to recreate
the light and lightness
of a spring sky, birds
and blossoms floating on
gentle breezes.2. From
Sea to Shining Sea: A
vivacious celebration of
water bubbling in
streams, rivers and
lakes.3. For Purple
Mountain Majesties: A
slow final movement
representing an
awe-inspiring range of
mountains
Of
Skies, Rivers, Lakes and
Mountains is
geschreven in opdracht
van de Northern
California Band
Directors' Association,
ter gelegenheid van het
vijftigjarig jubileum van
deze organisatie, dat in
2012 werd gevierd. De
première werd op 4
februari van dat jaar
onder leiding van
dirigent Royce Trevis
uitgevoerd door de
Association’s 2012
Honor Band, in het Harlen
Adams Theater, California
State University, Chico,
Californië.De
componist kreeg het
verzoek een werk te
schrijven dat een lofzang
zou zijn op alles wat de
natuur van Verenigde
Staten te bieden heeft.
Philip Sparke gebruikte
de tekst van Katharine
Lee Bates voor de song
America the
Beautiful, waarvan
heteerste en laatste
couplet als volgt
luiden:O beautiful for
spacious skies,For amber
waves of grain,For purple
mountain majestiesAbove
the fruited
plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaDe titels van
de drie delen van de
compositie zijn ontleend
aan deze coupletten:1.
O Beautiful for
Spacious Skies: Dit
deel, dat opent met
verfijnde figuren in het
hout, is een poging om
het licht en de lichtheid
van een lentehemel te
herscheppen, met
vogeltjes en bloesems die
wiegen in een milde
bries.2. From Sea to
Shining Sea: Een
levendige ode aan water
dat stroomt in beken,
rivieren en meren3.
For Purple Mountain
Majesties: Een
langzaam laatste deel
waarin het beeld wordt
opgeroepen van een
indrukwekkende bergketen
Of Skies,
Rivers, Lakes and
Mountains wurde von
der Northern California
Band Director’s
Association
(Dirigentenverband
Nord-Kaliforniens) zum
50-jährigen
Jubiläum im Jahr 2012
in Auftrag gegeben. Die
Uraufführung mit dem
Ehrenorchester 2012 des
Verbands fand am 4.
Februar desselben Jahre
unter der Leitung von Dr.
Royce Trevis im Halen
Adams Theater an der
California State
University, Chico
Kalifornien) statt.Der
Kompositionsauftrag
verlangte ein Stück zu
Ehren der Reichtümer
der Natur Amerikas. Der
Komponist Philip Sparke
wählte daher die erste
und letzte Strophe aus
Katherine Lee
Bates’ Text zum
Lied America the
Beautiful, die da
lauten:O beautiful for
spaciousskies,For amber
waves of grain,For purple
mountain majestiesAbove
the fruited
plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaDie Titel der
drei Sätze stammen
alle aus diesen
Strophen:1. O
Beautiful for Spacious
Skies (O
wunderschön, der weite
Himmel): Mit filigranen
Figuren im Holz
beginnend, will dieser
Satz das Licht und die
Leichtigkeit des
Frühlingshimmels, die
Vögel und von einer
sanften Brise getragene
Blüten zum Leben
erwecken.2. From Sea
to Shining Sea (Vom
Meer zum strahlenden
Meer): Mit lebhafter
Musik wird hier in
Flüssen, Bächen und
Seen sprudelndes Wasser
zelebriert.3. For
Purple Mountain
Majesties (Die
Erhabenheit der purpurrot
leuchtenden Berge): Der
langsame Schlusssatz
richtet den Blick auf
ehrfurchtgebietende
Gebirge.
(from the Opera La Battaglia di Legnano). By Giuseppe Verdi (1813-1901). Arrange...(+)
(from the Opera La
Battaglia di Legnano). By
Giuseppe Verdi
(1813-1901). Arranged by
Jos van de Braak. For
Baritone, Tenor and
Concert Band. Grade 2.
Score. Duration 3:00
Cleopatra Orchestre d'harmonie - Intermédiaire 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 - Intermédiaire 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.
The Captivator March Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé TRN Music Publisher
By Ernest S. Williams. Arranged by Mark Fonder. For concert band. Grade 5. Score...(+)
By Ernest S. Williams.
Arranged by Mark Fonder.
For concert band. Grade
5. Score and parts.
Duration 2 minutes, 22
seconds. Published by TRN
Music Publisher
Score and Parts Concert Band (Score and Parts) - Grade 3 SKU: HL.4008730...(+)
Score and Parts
Concert Band (Score and
Parts) - Grade 3
SKU:
HL.4008730
Concert
Band, Grade 3 3:50 Score
and parts. Composed
by Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392302.
Published by Hal Leonard
(HL.4008730).
ISBN
9798350119473. UPC:
196288195238.
The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Concert
Band, Grde 3 3:50
Score. Composed by
Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392301.
Published by Hal Leonard
(HL.4008731).
UPC:
196288195245.
The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Tre Sentimenti Orchestre d'harmonie De Haske Publications
Concert Band/Harmonie and Bass Clarinet Solo - Grade 6 SKU: BT.DHP-1053797-14...(+)
Concert Band/Harmonie and
Bass Clarinet Solo -
Grade 6
SKU:
BT.DHP-1053797-140
Three Moods for Bass
Clarinet and Symphonic
Band. Composed by Jan
Van der Roost. Solo
Spectrum. Solo &
Concerto. Score Only.
Composed 2005. 102 pages.
De Haske Publications
#DHP 1053797-140.
Published by De Haske
Publications
(BT.DHP-1053797-140).
340 X 250 inches.
English-German-French-Dut
ch.
At last the
bass clarinet can shine
in this major new solo
work for bass clarinet
and concert band. This
composition begins with a
rather mysterious opening
passage with atmospheric
sounds and effects. The
soloist plays-preferably
backstage- a number of
fragments and melodic
patterns, without
actually starting the
piece. After this
somewhat hesitant
introduction, a lively,
cheerful allegro entitled
Con Giocondita (with joy)
bursts out. It isswarming
with irregular meters,
changing tempos, and
polyrhythm, through which
the listeners (and
sometimes also the
musicians) constantly get
the feeling that they are
being tossed around. The
second movement brings
rest andpeace making
careful use of sound
colours. The upbeat
finale, titled Con
Allegria (with
cheerfulness), is the
most significant movement
for the soloist. This is
a challenging piece of
music that demands great
virtuosity, but withthe
correct performer it will
be a real highpoint in
any concert..
In
een mysterieuze
openingspassage zijn
atmosferische klanken te
horen. Dan barst er een
vrolijk allegro los:
Con Giocondita
(met vreugde). Een
intiemer tweede deel,
Con Tristezza (met
droefheid), brengt rust.
Het orkestspeelt hier een
belangrijke rol en laat
allerlei klankkleuren
horen in de dialoog met
de solist. De onstuimige
finale getiteld Con
Allegria (met
vrolijkheid) vraagt grote
virtuositeit van de
solist, het orkest doet
opnieuwmeer dan alleen
begeleiden. Na een korte
cadens worden de drie
voorafgaande
thema’s in
omgekeerde volgorde
herhaald en een spannend
slot beëindigt dit
contrastrijke
werk.
Freude,
Traurigkeit und
Fröhlichkeit sind die
drei Stimmungen, die Jan
Van der Roost in diesem
Werk für
Bassklarinette und
Blasorchester in ebenso
vielen Sätzen
vertonte. Während die
Freude in einem
rhythmischen,
energiereichen und
lebhaften Allegro zum
Ausdruck kommt, setzt der
zweite, langsamere Satz
lyrische und melodische
Akzente. Das schnelle
Finale ist eine große
Herausforderung an den
Solisten. Auch das
Blasorchester spielt in
diesem musikalisch
erfinderischen Werk eine
weit mehr als begleitende
Rolle.
Tre Sentimenti Orchestre d'harmonie De Haske Publications
Concert Band/Harmonie and Bass Clarinet Solo - Grade 6 SKU: BT.DHP-1053797-01...(+)
Concert Band/Harmonie and
Bass Clarinet Solo -
Grade 6
SKU:
BT.DHP-1053797-010
Three Moods for Bass
Clarinet and Symphonic
Band. Composed by Jan
Van der Roost. Solo
Spectrum. Solo &
Concerto. Set (Score &
Parts). Composed 2005. De
Haske Publications #DHP
1053797-010. Published by
De Haske Publications
(BT.DHP-1053797-010).
9x12 inches.
English-German-French-Dut
ch.
At last the
bass clarinet can shine
in this major new solo
work for bass clarinet
and concert band. This
composition begins with a
rather mysterious opening
passage with atmospheric
sounds and effects. The
soloist plays -
preferably backstage - a
number of fragments and
melodic patterns, without
actually
“startingâ€
the piece. After this
somewhat hesitant
introduction, a lively,
cheerful allegro entitled
Con Giocondita (with joy)
bursts out. It is
swarming with irregular
meters, changing tempos,
and polyrhythm, through
which the listeners (and
sometimes also the
musicians) constantly get
the feeling that they are
being tossed around. The
second movement brings
rest andpeace making
careful use of sound
colours. The upbeat
finale, titled Con
Allegria (with
cheerfulness), is the
most significant movement
for the soloist. This is
a challenging piece of
music that demands great
virtuosity, but with the
correct performer it will
be a real highpoint in
any concert..
In
een mysterieuze
openingspassage zijn
atmosferische klanken te
horen. Dan barst er een
vrolijk allegro los:
Con Giocondita
(met vreugde). Een
intiemer tweede deel,
Con Tristezza (met
droefheid), brengt rust.
Het orkestspeelt hier een
belangrijke rol en laat
allerlei klankkleuren
horen in de dialoog met
de solist. De onstuimige
finale getiteld Con
Allegria (met
vrolijkheid) vraagt grote
virtuositeit van de
solist, het orkest doet
opnieuwmeer dan alleen
begeleiden. Na een korte
cadens worden de drie
voorafgaande
thema’s in
omgekeerde volgorde
herhaald en een spannend
slot beëindigt dit
contrastrijke
werk.
Freude,
Traurigkeit und
Fröhlichkeit sind die
drei Stimmungen, die Jan
Van der Roost in diesem
Werk für
Bassklarinette und
Blasorchester in ebenso
vielen Sätzen
vertonte. Während die
Freude in einem
rhythmischen,
energiereichen und
lebhaften Allegro zum
Ausdruck kommt, setzt der
zweite, langsamere Satz
lyrische und melodische
Akzente. Das schnelle
Finale ist eine große
Herausforderung an den
Solisten. Auch das
Blasorchester spielt in
diesem musikalisch
erfinderischen Werk eine
weit mehr als begleitende
Rolle.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Composed
by Tyler Arcari. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS219F. Published
by Carl Fischer Music
(CF.CPS219F).
ISBN
9781491153130. UPC:
680160910632.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
By David Marlatt. Concert Band. Concert Band. Eighth Note Publications. Contempo...(+)
By David Marlatt. Concert
Band. Concert Band.
Eighth Note Publications.
Contemporary. Conductor
Score and Parts. Duration
00:03:20. Published by
Eighth Note Publications
Eternal Friendship Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216344-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Hymns & Chorals. Set
(Score & Parts). Composed
2021. De Haske
Publications #DHP
1216344-010. Published by
De Haske Publications
(BT.DHP-1216344-010).
English-German-French-
Dutch.
This work is
a close-up of the
encounters and
relationships of trust
between people, following
the idea that friendship
lasts forever.â€
After the passing of
Satoshi Yagisawa’s
close friend and work
partner, Tsutomu Murata,
a designer of Neo Create
in August 2020, the
composer began work on
this piece. Murata
performed music for
audiences primarily as a
leader and conductor of
Kurume City Brass, a
group which is active in
Fukuoka Prefecture in
Japan. Eternal
Frienship depicts a
five-minute chorale which
explores “how music
can convey that a close
friend is indispensable
to you, more broadly,
everyone to
someone,†much like
how Murata conveyed the
appeal of music to his
audiences. Under the
direction of the composer
himself, the work had its
world premiere and was
recorded with the Kobe
College Wind Orchestra.
Dit werk werpt
een blik op fijne
ontmoetingen en
vertrouwelijke relaties
tussen mensen en gaat uit
van het idee dat
vriendschap voor altijd
is. Nadat
Yagisawa’s goede
vriend en collega Tsutomu
Murata, een van de
ontwerpers van Neo
Create, in augustus 2020
overleed, begon hij aan
deze compositie te
werken. Murata musiceerde
vooral als muzikaal
leider en dirigent van
Kurume City Brass, een
ensemble dat actief is in
de Japanse prefectuur
Fukuoka. Eternal
Frienship is een vijf
minuten durend koraal
waarin wordt verkend hoe
muziek kan verklanken dat
een goede vriendschap
onmisbaar voor je is en
hoe dit principe in
bredere zin voor alle
mensen geldt. Op een
vergelijkbare manier wist
Murata de betekenis van
muziek op zijn publiek
over te brengen. Het werk
is onder leiding van de
componist zelf in
première gebracht en
werd opgenomen door het
Kobe College Wind
Orchestra.
Dieses
Werk betrachtet
Begegnungen und
Vertrauensbeziehungen
zwischen Menschen, die
überzeugt davon sind,
dass Freundschaft ewig
hält“. Nach dem
Tod von Satoshi Yagisawas
engem Freund und Kollegen
Tsutomu Murata, einem
Designer von Neo Create,
im August 2020 begann der
Komponist mit der Arbeit
an diesem Stück.
Murata trat
hauptsächlich als
Leiter und Dirigent von
Kurume City Brass, einem
Blasorchester in der
Präfektur Fukuoka in
Japan, in Erscheinung.
Eternal Frienship
besteht aus einem
fünfminütigen
Choral, der beschreibt,
wie Musik verdeutlichen
kann, dass ein enger
Freund für jeden
unverzichtbar ist“
eben genauso, wie auch
Murata seinem Publikum
die Anziehungskraft der
Musik vermittelt hat. Das
Werk wurde unter der
Leitung des Komponisten
mit dem Kobe College Wind
Orchestra uraufgeführt
und aufgenommen.
Eternal Friendship Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216344-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Hymns & Chorals. Score
Only. Composed 2021. 15
pages. De Haske
Publications #DHP
1216344-140. Published by
De Haske Publications
(BT.DHP-1216344-140).
English-German-French-
Dutch.
This work is
a close-up of the
encounters and
relationships of trust
between people, following
the idea that friendship
lasts forever.â€
After the passing of
Satoshi Yagisawa’s
close friend and work
partner, Tsutomu Murata,
a designer of Neo Create
in August 2020, the
composer began work on
this piece. Murata
performed music for
audiences primarily as a
leader and conductor of
Kurume City Brass, a
group which is active in
Fukuoka Prefecture in
Japan. Eternal
Frienship depicts a
five-minute chorale which
explores “how music
can convey that a close
friend is indispensable
to you, more broadly,
everyone to
someone,†much like
how Murata conveyed the
appeal of music to his
audiences. Under the
direction of the composer
himself, the work had its
world premiere and was
recorded with the Kobe
College Wind Orchestra.
Dit werk werpt
een blik op fijne
ontmoetingen en
vertrouwelijke relaties
tussen mensen en gaat uit
van het idee dat
vriendschap voor altijd
is. Nadat
Yagisawa’s goede
vriend en collega Tsutomu
Murata, een van de
ontwerpers van Neo
Create, in augustus 2020
overleed, begon hij aan
deze compositie te
werken. Murata musiceerde
vooral als muzikaal
leider en dirigent van
Kurume City Brass, een
ensemble dat actief is in
de Japanse prefectuur
Fukuoka. Eternal
Frienship is een vijf
minuten durend koraal
waarin wordt verkend hoe
muziek kan verklanken dat
een goede vriendschap
onmisbaar voor je is en
hoe dit principe in
bredere zin voor alle
mensen geldt. Op een
vergelijkbare manier wist
Murata de betekenis van
muziek op zijn publiek
over te brengen. Het werk
is onder leiding van de
componist zelf in
première gebracht en
werd opgenomen door het
Kobe College Wind
Orchestra.
Dieses
Werk betrachtet
Begegnungen und
Vertrauensbeziehungen
zwischen Menschen, die
überzeugt davon sind,
dass Freundschaft ewig
hält“. Nach dem
Tod von Satoshi Yagisawas
engem Freund und Kollegen
Tsutomu Murata, einem
Designer von Neo Create,
im August 2020 begann der
Komponist mit der Arbeit
an diesem Stück.
Murata trat
hauptsächlich als
Leiter und Dirigent von
Kurume City Brass, einem
Blasorchester in der
Präfektur Fukuoka in
Japan, in Erscheinung.
Eternal Frienship
besteht aus einem
fünfminütigen
Choral, der beschreibt,
wie Musik verdeutlichen
kann, dass ein enger
Freund für jeden
unverzichtbar ist“
eben genauso, wie auch
Murata seinem Publikum
die Anziehungskraft der
Musik vermittelt hat. Das
Werk wurde unter der
Leitung des Komponisten
mit dem Kobe College Wind
Orchestra uraufgeführt
und aufgenommen.
Guglielmo Tell Orchestre d'harmonie [Conducteur] - Intermédiaire Baton Music
(Overture). Composed by Gioachino Rossini (1792-1868). Arranged by Jos van de Br...(+)
(Overture). Composed by
Gioachino Rossini
(1792-1868). Arranged by
Jos van de Braak. For
Concert Band. Grade 5.
Full score. Duration
11:30. Published by Baton
Music
Concert Band - Grade 3 SKU: AP.38368 Arranged by Victor Lopez. Concert Ba...(+)
Concert Band - Grade 3
SKU: AP.38368
Arranged by Victor Lopez.
Concert Band; Performance
Music Ensemble; Single
Titles. Pop Concert Band.
Pop; Radio. Score and
Part(s). 248 pages.
Alfred Music #00-38368.
Published by Alfred Music
(AP.38368).
UPC:
038081441047.
English.
Recently,
the ladies of pop are
ruling the charts and
veteran writer Victor
López has selected two
very playable titles from
Lady Gaga and Katy
Perry's repertoire that
will rock your audience.
A dynamic duo of artists
and tunes. Recognized by
students and audiences
alike, this pop duo is
certain to please!
Sneak Attack! Orchestre d'harmonie - Facile Hal Leonard
Score Only Concert Band (Score) - 2-2 1/2 SKU: HL.4003080 Composed by Ric...(+)
Score Only Concert Band
(Score) - 2-2 1/2
SKU:
HL.4003080
Composed
by Richard L. Saucedo.
MusicWorks Grade 2.
Contest, Festival. 20
pages. Duration 165
seconds. Published by Hal
Leonard (HL.4003080).
UPC: 884088577742.
9.0x12.0x0.064
inches.
You can
sense right from the
start that someone is
sneaking around to give
that unexpected surprise
to a friend or foe! The
percussion provide a
simple but effective
groove, and a jazzy
middle section helps to
mix things up and offers
nice variety. Written in
a single tempo
throughout, here is an
entertaining piece that
will be a blast to
perform, and yet
musically rewarding to
teach. Dur: 2:45.
Transcribed by R. Mark Rogers for Symphonic Wind Band. Composed by Dmitri ...(+)
Transcribed by R. Mark
Rogers
for Symphonic Wind Band.
Composed by Dmitri
Shostakovich (1906-1975).
Edited by Mark Rogers.
Southern Music. Concert.
Softcover. Southern Music
Company #S977CB.
Published by
Southern Music Company
Canzona Di Bacco Orchestre d'harmonie - Intermédiaire/avancé Beriato Music
Concert Band (SCORE) - Grade 4.5 SKU: HL.4007849 Composed by Oliver Waesp...(+)
Concert Band (SCORE) -
Grade 4.5
SKU:
HL.4007849
Composed
by Oliver Waespi. Beriato
Music Concert Band Set.
Concert. Softcover.
Duration 675 seconds.
Beriato Music #033673.
Published by Beriato
Music (HL.4007849).
UPC:
196288105480.
This
piece comprises a series
of variations on the
melody of “Ami,
dans cette vieâ€
(“Friend, in this
lifeâ€), an 18th
century French song. Like
the famous poem
“Canzona de
Bacco†by Lorenzo
de' Medici, this song
invites the listener to
enjoy life, friendships,
love and wine while there
is still time to do so.
The epicurean nature of
this text contrasts with
a deeply melancholic
melody, a contradiction
which is explored in the
present work. After a
somewhat turbulent first
part, the original melody
is revealed in a serene
and pensive middle
section which highlights
several soloists. In the
last movement, the
atmosphere is transformed
to become increasingly
exuberant, like a Bacchus
incantation. The piece
concludes with a final
dazzling statement of the
original theme. Canzona
di Bacco was commissioned
by the Vesoul Municipal
Wind Band, who premiered
the work on 24 June 2022
at the Edwige
Feuillère Theatre in
Vesoul (France), under
the direction of Mathieu
Anguenot.
Canzona Di Bacco Orchestre d'harmonie - Intermédiaire/avancé Beriato Music
Concert Band (SCORE+PARTS) - Grade 4.5 SKU: HL.4007848 Composed by Oliver...(+)
Concert Band
(SCORE+PARTS) - Grade 4.5
SKU: HL.4007848
Composed by Oliver
Waespi. Beriato Music
Concert Band Set.
Concert. Softcover.
Duration 675 seconds.
Beriato Music #033673.
Published by Beriato
Music (HL.4007848).
UPC: 196288105473.
9.0x12.0
inches.
This piece
comprises a series of
variations on the melody
of “Ami, dans cette
vieâ€
(“Friend, in this
lifeâ€), an 18th
century French song. Like
the famous poem
“Canzona de
Bacco†by Lorenzo
de' Medici, this song
invites the listener to
enjoy life, friendships,
love and wine while there
is still time to do so.
The epicurean nature of
this text contrasts with
a deeply melancholic
melody, a contradiction
which is explored in the
present work. After a
somewhat turbulent first
part, the original melody
is revealed in a serene
and pensive middle
section which highlights
several soloists. In the
last movement, the
atmosphere is transformed
to become increasingly
exuberant, like a Bacchus
incantation. The piece
concludes with a final
dazzling statement of the
original theme. Canzona
di Bacco was commissioned
by the Vesoul Municipal
Wind Band, who premiered
the work on 24 June 2022
at the Edwige
Feuillère Theatre in
Vesoul (France), under
the direction of Mathieu
Anguenot.
Orchestra Concert Band SKU: PR.116400500 Composed by Carter Pann. Folio. ...(+)
Orchestra Concert Band
SKU: PR.116400500
Composed by Carter Pann.
Folio. Set of Score and
Parts.
28+2+2+2+2+2+2+2+2+2+2+2+
2+2+2+2+2+2+2+2+2+2+2+2+2
+2+2+2+4+16+16+20+20+10
pages. Duration 5
minutes. Theodore Presser
Company #116-40050.
Published by Theodore
Presser Company
(PR.116400500).
ISBN
9781491130773. UPC:
680160676729. 9 x 12
inches.
TINY TATTOO
was written after the
composer visited a
“treetopâ€
bistro at Big Sur,
California. The
restaurant is named
Nepenthe, after an
ancient Greek elixir
fabled to relieve any and
all sorrows. This
spot-on-the-cliff made
such an impression on
Pann that musical ideas
immediately started
flowing, giving rise to
the opening hook of this
5-minute orchestral work.
Written as a gift to
conductor Alastair
Willis, TINY TATTOO is a
highly catchy and
colorful work with
exciting percussion
parts, equally suitable
for advanced student
orchestras, professional
ensembles, and everything
in between. TINY
TATTOO (2017) was written
after visiting a
“treetopâ€
bistro at Big Sur,
California with my wife
after driving the entire
day up from L.A. The
restaurant is called
“Nepenthe,â€
named after an ancient
Greek elixir fabled to
relieve one from any and
all sorrows. This
spot-on-the-cliff made
such an impression on me
(in my exhausted state)
that I immediately began
humming the opening
minimal hook in what is
now this piece. Any
well-known excerpts
containted within the
work are happy
accidents.Tiny Tattoo was
written as a gift to
conductor Alastair
Willis.
Entrance of the Gladiators Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
(March). By Julius Fucik (1872-1916). Arranged by Andrew Glover. Concert band. H...(+)
(March). By Julius Fucik
(1872-1916). Arranged by
Andrew Glover. Concert
band. Heritage of the
March Series. Audio
recording available
separately (item
CL.WFR372). Grade 3.5.
Score and set of parts.
Composed 2011. Duration 3
minutes, 6 seconds.
Published by C.L.
Barnhouse