Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. 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 scenes”. 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. / Niveau : 3 / Répertoire / Concert Band

Par HIMES WILLIAM. This rousing, jubilant overture mixes five original themes with the well-known doxology Old Hundredth, which is also known as Praise God, from Whom All Blessings Flow. The hymn is presented in short lyrical, energetic motif fragments, which combine until the complete hymn is presented in the form of a chorale prelude. This is a wonderful and truly uplifting concert work. / Niveau : 4 / Répertoire / Concert Band ou Harmonie

Par CURNOW JAMES. erfect for a combined Choral/Band concert as an opener, closer or anywhere in between. This medley of familiar tunes is tied together by the recurring concept that MUSIC SHALL LIVE. A swingin' WADE IN THE WATER, a soulful NOBODY KNOWS THE TROUBLE I'VE SEEN, and an inspiring BATTLE HYMN OF THE REPUBLIC make it a crowd pleaser. The unison choral part makes sure the chorus can come through loud and clear and the performance can be prepared without a great deal of combined rehearsal time. Big, bold and powerful! (String parts and Beginning Band (simplified) parts are also available for large, All-City Band, Orchestra and Chorus performances) / Niveau : 2 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par CURNOW JAMES. erfect for a combined Choral/Band concert as an opener, closer or anywhere in between. This medley of familiar tunes is tied together by the recurring concept that MUSIC SHALL LIVE. A swingin' WADE IN THE WATER, a soulful NOBODY KNOWS THE TROUBLE I'VE SEEN, and an inspiring BATTLE HYMN OF THE REPUBLIC make it a crowd pleaser. The unison choral part makes sure the chorus can come through loud and clear and the performance can be prepared without a great deal of combined rehearsal time. Big, bold and powerful! (String parts and Beginning Band (simplified) parts are also available for large, All-City Band, Orchestra and Chorus performances) / Niveau : 2 / Pièce de concert / Répertoire / Concert Band

This work was originally scored as a tone poem that was written in 1874 by well-known French composer Camille Saint-Saëns. The basis of the piece is an old French superstition where at the stroke of midnight on Halloween, Death appears and summons the dead to dance while he plays his music for them. In a familiar 3/4, it's spooky enough for a Halloween performance and classical enough for any program or contest all year long! (3:15) / Orchestre D'Harmonie

Arr. Philip Sparke. Par BYRD WILLIAM. The Battell was written during the late 14th Century when England was in a mood of national celebration after victory over the Spanish and French Armadas. The movement which Byrd called Marche Before The Battell became known as The Earl of Oxford?s Marchand it appears with that title in an early manuscript copy of the Fitzwilliam Virginal Book. Written while Byrd was at the height of his powers, it still stirs the soul to this day. A perfect opener for your concert performances. / Niveau : 4 / Transcription / Répertoire / Concert Band ou Harmonie

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

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Harmonie

Par HANNICKEL MIKE. Your Beginning Band will enjoy this musical joke on their Christmas concert audience. While bits of The Twelve Days of Christmas, O Christmas Tree and Up on the Housetop make up the body of the music, the real intent of the piece is to be a humorous snapshot of a typical family at the Christmas morning gift exchange. This is a chance for your Beginners to play well known seasonal tunes in a really fun setting this year. / Niveau : 0.5 / Musique légère originale / Répertoire / Concert Band