Dear Lord and Father of Mankind. Par DE HAAN JAN. Dear Lord and Father of Mankind (Seigneur et Père de l’Humanité) est un hymne composé par l'organiste anglais Frederick Charles Maker (1844-1927), d’après un poème de John Greenleaf Whittier. Jan de Haan nous offre une adaptation calme et cependant intense de cet air méditatif. L’euphonium joue un rôle important dans la première partie de la pièce, conduisant à l’une des plus belles mélodies de tous les hymnes anglais. / Niveau : 3 / Hymnes et chorals / Répertoire / Concert Band ou Harmonie

Based on the hymn tune Dear Lord and Father of Mankind. Par PARRY CHARLES HUBERT. Sir Hubert Parry (1848-1918) appartient à cette génération de compositeurs anglais quelque peu oubliés dont font partie Charles Villiers Stanford et Sir Granville Bantock. La notoriété de Sir Edward Elgar a certainement contribué au fait que leurs oeuvres soient aujourd’hui très peu jouées ou même oubliées. Sir Hubert Parry est surtout connu pour ses hymnes tels que Jerusalem et Repton, toutes deux de magnifiques mélodies. Repton est apparu pour la première fois dans l’oratorio Judith de Charles Hubert Parry puis adapté sous forme d’hymne après la mort du compositeur. Philip Sparke en a réalisé un arrangement dans lequel la partie soliste peut êtreconfiée à un trompettiste, un clarinettiste ou un saxophoniste (saxophone alto). / Niveau : 2 / oeuvre solo et Orchestre / Répertoire / Concert Band ou Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

From Gone with the WInd. Max Steiner was born in Vienna in 1888, and grew up surrounded by music. He was a student of the Imperial Academy of Music, having among his teachers Gustav Mahler. In 1936 he signed an agreement with Warner. Steiner, considered the father of symphonic music in Hollywood style. One of his most famous and popular masterworks is, without any doubt, Gone with the Wind (1939). The movie was an immediate success and won ten Academy Awards. In spite of the years passed, this movie still moves young audiences around the world. Lorenzo Bocci has chosen the song Tara’s Theme from this movie and turned the romantic music into an arrangement for concert band. / Niveau : 3 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Arr. Peter Kleine Schaars. The sisters Ruth, Anita and June Pointer from West Oakland in California learned how to sing in the sixties in church where their father was a minister. At the beginning of the 1970s they entered the music business, where they proved to have a mastery of many styles - including rhythm & blues, jazz, and country. However, the Pointer Sisters acquired international fame at the beginning of the eighties with their soul-like pop music. A great hit was the up-tempo number I’m So Excited, which is still a success on every dance floor. This sparkling arrangement by Peter Kleine Schaars certainly provides the excitement that is suggested in the title. / Niveau : 3 / Musique légère originale / Répertoire / Concert Band ou Harmonie

O Take My Hand, Dear Father. Par SILCHER FRIEDRICH. This celebrated song is based on a poem by Julie Hausmann (1826-1901), a Latvian teacher who was probably blind. The text draws on her personal experience and unshakeable faith in God, death and eternal life. The melody by Friedrich Silcher is written in a simple and delicate style but also draws on the grand romantic tradition of Wagner and Bruckner. This arrangement can also be performed with a mixed choir. The choir parts are in German. / Niveau : 2 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Arr. Henk Hogestein. Par MOZART WOLFGANG AMADEUS. Salzburg, birthplace of Wolfgang Amadeus Mozart, inspired Dutch composer Henk Hogestein to write this musical tribute. Mozart was born in this charming Austrian town in January 1756. He was a musical prodigy - at the age of four he began receiving lessons from his father Leopold and at the age of six he was composing smart minuets and other short pieces. The composition Charming Salzburg is based on a theme from Mozart's opera Die Zauberflöte, which he completed in 1791. The greatest composer of his day - the greatest of all time according to some - the brilliant Mozart wrote some of the world's best operas with Die Zauberflöte was his last. / Niveau : 2 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Par BALAZS ARPAD. With its energetic impetus and imposing instrumentation, Concertino is certainly outstanding in the oeuvre of Árpád Balázs. Among his compositions for concert band, it is by far the most engaging and exacting work. Passing away and a will to live are simultaneously present in Concertino, which Árpád Balázs composed in memory of his beloved father. Its structure brings Liszt's Hungarian Rhapsodies to mind: its solemn opening, which returns at the end,is followed by a slow and a fast movement. The funereal music of the slow movement evolves from a motif of Bach's St. Matthew Passion with enormous intensification equal to the lament in Grieg's Peer Gynt. It is difficult to imagine a dramatic incandescence with a higher degree of heat. The heartbeat-imitating timpani features significantly at the beginning and the end of the funereal music. The fast movement represents resolution, resignation and regainedgaiety. This part, pulsating like a waltz and echoing the modulation technique of Richard Strauss, is followed by the solemn return of the opening chords.Whether playing or listenting to this tremendously soul-stirring music, you will all encounter a dramatic experience./ Répertoire / Concert Band

In Powhatan County and Song of the James. Par HOSAY JOHN. Powhatan County, Virginia was named after the great Native-American Chief Powhatan, whose confederacy of tribes once dominated the costal Virginia plain. He is most remembered for being the father of Pocahontas. His people are best known as the Native Americans who helped the Jamestown colonists survive. Several of these original tribes still exist today. The composer was inspired by the essence of this region and the James River which borders the northern portion of the county. / Niveau : 2 / Pièce de concert / Répertoire / Concert Band