Metamorphoses on a Theme by Tchaikovsky for Brass Band. By Johan De Meij. (Score). Amstel Concert Bands. 90 pages. Published by Amstel Music.

Metamorphoses on a Theme by Tchaikovsky for Wind Orchestra. By Johan De Meij. (Score and Parts). Amstel Concert Bands. Published by Amstel Music.

The Hobbit: An Unexpected Journey, Selections from (I. The Adventure Begins / II. Axe or Sword? and A Good Omen / III. A Very Respectable Hobbit / IV. Erebor). By Howard Shore. Arranged by Michael Story and Michael Story. Concert Band. Concert Band; Part(s); Score. Pop Young Band. Folk; Movie. Grade 2. 252 pages. Published by Alfred Music

(I. The Adventure Begins / II. Axe or Sword? / A Good Omen / III. A Very Respectable Hobbit / IV. Erebor). By Howard Shore. Arranged by Michael Story and Michael Story. Concert Band. Concert Band; Score. Pop Young Band. Folk; Movie. Grade 2. 40 pages. Pub

(I. The Quest for Erebor, II. Winderland, III. Thrice Welcome, IV. In the Shadowof the Mountain and On the Doorstep). Composed by Howard Shore, lyrics by Philippa Boyens. Arranged by Victor López. Concert Band. Concert Band; Part(s); Score. Pop Concert Band. Form: Suite. Movie. Grade 3. Published by Alfred Music

(I. The Quest for Erebor, II. Winderland, III. Thrice Welcome, IV. In the Shadowof the Mountain and On the Doorstep). Composed by Howard Shore, lyrics by Philippa Boyens. Arranged by Victor López. Concert Band. Concert Band; Score. Pop Concert Band. Form: Suite. Movie. Grade 3. Published by Alfred Music

By Johann Sebastian Bach. Arranged by Philip Sparke. (Score and Parts). ANGLO MUSIC PRESS. Published by Anglo Music.

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 Spring”) 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 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.

Band Concert Band - Grade 2

SKU: CF.YPS198

Composed by Tyler Arcari. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+8+8+2+4+10+4+2+4+4+8+ 12+6+3+1+1+4+2+16+4 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS198. Published by Carl Fischer Music (CF.YPS198).

ISBN 9781491152188. UPC: 680160909681. Key: C minor.

All the While was inspired by a very special person in Tyler Arcari's life. Directors will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands.  All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.
Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,” and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.

Band Concert Band - Grade 2

SKU: CF.YPS198F

Composed by Tyler Arcari. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS198F. Published by Carl Fischer Music (CF.YPS198F).

ISBN 9781491152867. UPC: 680160910366.

All the While was inspired by a very special person in Tyler Arcari's life. Director's will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands.  All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.
Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,” and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-465-010

Composed by Philip Sparke. Debut Series. Hymns & Chorals. Set (Score & Parts). Composed 2018. Anglo Music Press #AMP 465-010. Published by Anglo Music Press (BT.AMP-465-010).

English-German-French- Dutch.

These 30 Original Chorales and Warm-Ups have been designed to develop the most important aspects of band playing, by providing material that can be used at the start of a rehearsal to test balance, dynamics, tuning, flexibility and articulation. Band directors are encouraged to adapt them to address the specific needs and challenges of their ensembles. Dynamics and tempo indications are not given and should be chosen by the director as required. All the chorales are strictly four-part. This multi-purpose collection is an essential purchase for every ambitious band!

30 Original Chorales and Warm-Ups is ontwikkeld om belangrijke vaardigheden van het spelen in een blaasorkest te ontwikkelen door middel van materiaal dat kan worden gebruikt om bij de start van een repetitie aan de balans, dynamiek, zuiverheid, flexibiliteit en articulatie te werken. Dirigenten kunnen de koralen en warming-ups naar wens aanpassen door zich te richten op specifieke muzikale aspecten. Er worden geen aanwijzingen voor dynamiek en tempo gegeven, die bepaalt de dirigent naar eigen inzicht. Alle koralen zijn vierstemmig. Een veelzijdig toepasbare bundel die onmisbaar is voor elk ambitieus blaasorkest!

Die 30 Original Chorales and Warm-Ups wurden konzipiert, um die wichtigsten Aspekte des Blasorchesterspiels zu erarbeiten. Mithilfe des umfangreichen Materials kann man zu Beginn einer Probe Balance, Dynamik, Stimmung, Flexibilität und Artikulation üben. Orchesterleiter können das Material an die Bedürfnisse ihres jeweiligen Orchesters anpassen, indem sie sich auf bestimmte musikalische Herausforderung konzentrieren. Es gibt keine Angaben zu Dynamik und Tempo, da dies vom Orchesterleiter entsprechend gewählt werden soll. Die Choräle sind alle vierstimmig. Eine vielseitige Sammlung, die unverzichtbar für jedes anspruchsvolle Orchester ist!

30 Original Chorales and Warm-Ups a été conçu pour développer les aspects importants du jeu d’ensemble en offrant des morceaux qui permettent d’évaluer la balance, les nuances, l’intonation, la flexibilité et l’articulation. Idéal pour l’usage lors du début d’une répétition, tous les chorals sont quatre voix. Ce recueil usages multiples est indispensable chaque orchestre ambitieux !

Questi 30 Original Chorales and Warm-Ups (30 corali originali e pezzi di riscaldamento) sono stati pensati per sviluppare gli aspetti più importanti del suonare in banda, quali equilibrio, dinamiche, intonazione, flessibilit e articolazione. Tutti i corali sono rigorosamente a quattro parti. Questa collezione è un acquisto essenziale per ogni banda che vuole migliorare!

Orchestra 3(1/2/3,Picc).3(1/2/3,Cor A).4(1/2/3,BCl/4,BCl).3(1 /2/3,Cbsn) - 6.3.3.1 - Timp.3Perc - Str(14.12.10.8.8)

SKU: PE.EP14634

Four Verses for Orchestra and Record. Composed by Arnulf Herrmann. Performance Music Ensemble; Single Titles. Peters Contemporary Library. Classical. Score. 64 pages. Edition Peters #98-EP14634. Published by Edition Peters (PE.EP14634).

ISBN 9790014139414. German.

DÃ� �monen (Ein Kinderlied) – English: Demons (A Children's Song) – by Arnulf Herrmann is a 21-minute work for orchestra and a record with the children's song Die Blümelein, sie schlafen (The little flowers are sleeping). On it, white noise and historical fragments of this song, preserved in various versions, can be heard. The recording is interwoven with the orchestra, sets the tempo and, not least, provides the timeframe by limiting it to the duration of one record side. But the end is only technical: The needle lifts, but the song is not over.

The premiere took place on 16 October 2022 at the Donaueschinger Musiktage, with the SWR Symphony Orchestra conducted by Bas Wiegers.

The full score (EP 14634) is available for sale as part of the Peters Contemporary Library. The performance material can be hired.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

About Peters Contemporary Library

Ma rk Andre
Milton Babbitt
Daniel Bjarnason
Earle Brown
John Cage
Henry Cowell
James Dillon
Jonathan Dove
Brian Ferneyhough
Roxanna Panufnik
Rebecca Saunders
Erkki-Sven Tuur
Charles Wuorinen

These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike.

Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.

SKU: SU.92090242

Composed by Roberto Sierra Live. Concert Band/Wind Ensemble. CD (Audio). Subito Music Corporation #92090242. Published by Subito Music Corporation (SU.92090242).

The Eastman Wind Ensemble is America's leading wind ensemble. Frederick Fennell first formulated the general concept of the wind ensemble at Eastman nearly 65 years ago. Under his leadership the group became known as the pioneering force in the wind ensemble movement in the United States and abroad. A. Clyde Roller served as conductor between 1962 and 1964, continuing the tradition established by Fennell. Donald Hunsberger became conductor in 1965 and led the ensemble for 37 years to international prominence. The ensemble's current director, Mark Davis Scatterday, was introduced as the fourth conductor of this prestigious group during the EWE's 50th anniversary celebration on February 8, 2002. Since its founding, the EWE has been the leader in elevating the wind repertory through recordings. Fennell's Mercury Recordings albums of the 1950s and early '60s are notable for their pioneering use of binaural, stereo, and 35mm recording techniques. These Living Presence recordings focused on standard band literature by the most respected classical composers -- heard for the first time in the newly balanced one-per-part instrumentation. They also centered on major repertory not found on traditional band programs, such as Mozart's Serenade in B-flat (the Gran Partita), Messiaen's Et exspecto resurrectionem mortuorum, and Stravinsky's Symphonies of Wind Instruments. Under Hunsberger, the EWE continued its progressive stance in recording techniques with participation in quadraphonic and digital recording. Since its founding, the ensemble has premiered more than 200 new works. The EWE and Mark Scatterday have continued this rich recording tradition with several CDs starting in 2005 with Danzante (featuring trumpet virtuosi James Thompson) on Summit Records. Track Listing Fandangos Sinfonia No 3 La Salsa: 1. Tumbao Sinfonia No 3 La Salsa: 2. Habanera Sinfonia No 3 La Salsa: 3. Danzas Sinfonia No 3 La Salsa: 4. Jolgorio Fanfarria Diferencias: 1. Fanfarria Diferencias: 2. Sonoro Diferencias: 3. Ritmico Diferencias: 4. Sonoro Diferencias: 5. Vigoroso The Phoenix from Carnaval.

Concert Band/Harmonie - Grade 2.5

SKU: BT.CMP-0164-97-010

Composed by James Curnow. Passport Plus Series. Set (Score & Parts). Composed 1997. Curnow Music #CMP 0164-97-010. Published by Curnow Music (BT.CMP-0164-97-010).

In A Day at the Museum the renowned composer James Curnowpresents four contrasting types of art that will be found in an artexhibition. The work is divided into five movements, Promenade (walking between exhibits), Landscape (Van Gough and Rubens), Portrait (Manet), Seascapes (Monet) and Sculpture. Take a walk through the world’s greatest museum and let your mind recall the pleasure of seeing works by the great masters of the art world.

Peut-on concevoir la vie sans la beauté des arts ? Des siècles de paysages sublimés, de portraits exquis et de sculptures délicates signés par de grands maîtres sont mis en musique dans cette composition de James Curnow. Une promenade travers les salles d’un musée la rencontre des Beaux-Arts.

Concert Band - Grade 2.5

SKU: BT.CMP-0164-97-040

Composed by James Curnow. Passport Plus Series. Set (Score & Parts). Composed 1997. Curnow Music #CMP 0164-97-040. Published by Curnow Music (BT.CMP-0164-97-040).

In A Day at the Museum the renowned composer James Curnowpresents four contrasting types of art that will be found in an artexhibition. The work is divided into five movements, Promenade (walking between exhibits), Landscape (Van Gough and Rubens), Portrait (Manet), Seascapes (Monet) and Sculpture. Take a walk through the world’s greatest museum and let your mind recall the pleasure of seeing works by the great masters of the art world.

Peut-on concevoir la vie sans la beauté des arts ? Des siècles de paysages sublimés, de portraits exquis et de sculptures délicates signés par de grands maîtres sont mis en musique dans cette composition de James Curnow. Une promenade travers les salles d’un musée la rencontre des Beaux-Arts.

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-1043758-140

Composed by Jacob De Haan. Performance Series. Concert Piece. Score Only. Composed 2004. 36 pages. De Haske Publications #DHP 1043758-140. Published by De Haske Publications (BT.DHP-1043758-140).

Singapore Rhapsody is an exciting work in two movements based on popular Malaysian folksongs. The songs that occur in the first movement are Rasa Sayang eh (a love song), Gelang Sipaku Gelang (a song about community spirit), Suriram (a song about a girl proclaiming her virtues) and Di-Tanjung Katong (a love song that takes place at the Cape Katong on the southeast coast of Singapore). The second movement features Lenggang Kangkung, which literally means “The swaying of the watercress,” Katang Lompat (a moralistic song about the symbolism of the frog) and finally Kenek kenek-lah Udang (a wedding song). Each movement of this enchanting work can be performed separately but acomplete performance will be the crowning moment of any concert.

Dit tweedelige werk is gebaseerd op populaire Maleisische volksliedjes. De liedjes uit het eerste deel zijn Rasa Sayang eh (een liefdesliedje), Gelang Sipaku Gelang (een liedje over gemeenschapszin), Suriram (overeen meisje dat haar eeuwige vriendschap aanbiedt) en Di-Tanjung Katong (een liefdeslied dat zich afspeelt aan de zuidoostkust van Singapore). Deel twee bestaat uit Lenggang Kangkung (letterlijk ‘het zwaaien vande waterkers’), Katang Lompat (over de symboliek van de kikker) en Kenek kenek-lah Udang (een bruiloftslied). De twee delen van Singapore Rhapsody kunnen prima los van elkaar worden uitgevoerd.

Jacob de Haans Komposition besteht aus zwei Sätzen, die auf malaysischen Volksliedern basieren: zwei Liebeslieder, ein Lied über die Freundschaft, zwei Lieder über die Natur sowie ein Hochzeitslied. Die beiden Sätze von Singapore Rhapsody sind nicht untrennbar miteinander verbunden; sie können daher auch problemlos getrennt voneinander aufgeführt werden. Bringen Sie mit dieser Rhapsodie etwas Exotik in Ihr nächstes Konzert!

Singapour, la cité du Lion, est l’un des plus importants carrefours d’Asie. Singapour mélange habilement les cultures chinoises, malaises, indiennes et occidentales. La musique traditionnelle est l’image de la multiethnicité de cette ville-état. Les deux mouvements de cette composition s’inspirent de chants traditionnels malais. Le premier mouvement développe quatre chants traditionnels de caractère contrastant et contrasté. Le second mouvement est basé sur les chants Lenggang Kangkung (qui dépeint le gracieux mouvement du cresson de rizière), Katang Lompat (une chanson moraliste qui évoque le symbolisme de la grenouille) et un chant de mariage. Les deux mouvements de cetterhapsodie ne sont pas intimement liés. Il est donc possible de les interpréter séparément.

Singapore, la citt del leone, è uno dei più importanti crocevia dell’Asia. Singapore mischia abilmente le culture provenienti dalla Cina, dalla Malesia, dall’India a quelle occidentali. La musica tradizionale è l’immagine delle molte etnie di questa citt -stato. I due movimenti di questa composizione si ispirano a canti tradizionali della Malesia. Il primo movimento sviluppa quattro canti tradizionali di carattere contrastante e contrastato. Il secondo movimento è basato sui canti Lenggang Kangkung e Katang Lompat, che, come d’abitudine in oriente, descrivono animali e l’ambiente in cui vivono legandoli a simbolismi, e un canto tradizionale in occasione di matrimoni. I duemovimenti di questa rapsodia non sono legati tra loro, rendendo possibile eseguirli separatamente.

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-1043758-010

Composed by Jacob De Haan. Performance Series. Concert Piece. Set (Score & Parts). Composed 2004. De Haske Publications #DHP 1043758-010. Published by De Haske Publications (BT.DHP-1043758-010).

Singapore Rhapsody is an exciting work in two movements based on popular Malaysian folksongs. The songs that occur in the first movement are Rasa Sayang eh (a love song), Gelang Sipaku Gelang (a song about community spirit), Suriram (a song about a girl proclaiming her virtues) and Di-Tanjung Katong (a love song that takes place at the Cape Katong on the southeast coast of Singapore). The second movement features Lenggang Kangkung, which literally means “The swaying of the watercress,” Katang Lompat (a moralistic song about the symbolism of the frog) and finally Kenek kenek-lah Udang (a wedding song). Each movement of this enchanting work can be performed separately but acomplete performance will be the crowning moment of any concert.

Dit tweedelige werk is gebaseerd op populaire Maleisische volksliedjes. De liedjes uit het eerste deel zijn Rasa Sayang eh (een liefdesliedje), Gelang Sipaku Gelang (een liedje over gemeenschapszin), Suriram (overeen meisje dat haar eeuwige vriendschap aanbiedt) en Di-Tanjung Katong (een liefdeslied dat zich afspeelt aan de zuidoostkust van Singapore). Deel twee bestaat uit Lenggang Kangkung (letterlijk ‘het zwaaien vande waterkers’), Katang Lompat (over de symboliek van de kikker) en Kenek kenek-lah Udang (een bruiloftslied). De twee delen van Singapore Rhapsody kunnen prima los van elkaar worden uitgevoerd.

Jacob de Haans Komposition besteht aus zwei Sätzen, die auf malaysischen Volksliedern basieren: zwei Liebeslieder, ein Lied über die Freundschaft, zwei Lieder über die Natur sowie ein Hochzeitslied. Die beiden Sätze von Singapore Rhapsody sind nicht untrennbar miteinander verbunden; sie können daher auch problemlos getrennt voneinander aufgeführt werden. Bringen Sie mit dieser Rhapsodie etwas Exotik in Ihr nächstes Konzert!

Singapour, la cité du Lion, est l’un des plus importants carrefours d’Asie. Singapour mélange habilement les cultures chinoises, malaises, indiennes et occidentales. La musique traditionnelle est l’image de la multiethnicité de cette ville-état. Les deux mouvements de cette composition s’inspirent de chants traditionnels malais. Le premier mouvement développe quatre chants traditionnels de caractère contrastant et contrasté. Le second mouvement est basé sur les chants Lenggang Kangkung (qui dépeint le gracieux mouvement du cresson de rizière), Katang Lompat (une chanson moraliste qui évoque le symbolisme de la grenouille) et un chant de mariage. Les deux mouvements de cetterhapsodie ne sont pas intimement liés. Il est donc possible de les interpréter séparément.

Singapore, la citt del leone, è uno dei più importanti crocevia dell’Asia. Singapore mischia abilmente le culture provenienti dalla Cina, dalla Malesia, dall’India a quelle occidentali. La musica tradizionale è l’immagine delle molte etnie di questa citt -stato. I due movimenti di questa composizione si ispirano a canti tradizionali della Malesia. Il primo movimento sviluppa quattro canti tradizionali di carattere contrastante e contrastato. Il secondo movimento è basato sui canti Lenggang Kangkung e Katang Lompat, che, come d’abitudine in oriente, descrivono animali e l’ambiente in cui vivono legandoli a simbolismi, e un canto tradizionale in occasione di matrimoni. I duemovimenti di questa rapsodia non sono legati tra loro, rendendo possibile eseguirli separatamente.

Concert Band - Grade 2.5

SKU: BT.DHP-1043758-040

Composed by Jacob De Haan. Performance Series. Concert Piece. Set (Score & Parts). Composed 2004. De Haske Publications #DHP 1043758-040. Published by De Haske Publications (BT.DHP-1043758-040).

Singapore Rhapsody is an exciting work in two movements based on popular Malaysian folksongs. The songs that occur in the first movement are Rasa Sayang eh (a love song), Gelang Sipaku Gelang (a song about community spirit), Suriram (a song about a girl proclaiming her virtues) and Di-Tanjung Katong (a love song that takes place at the Cape Katong on the southeast coast of Singapore). The second movement features Lenggang Kangkung, which literally means “The swaying of the watercress,” Katang Lompat (a moralistic song about the symbolism of the frog) and finally Kenek kenek-lah Udang (a wedding song). Each movement of this enchanting work can be performed separately but acomplete performance will be the crowning moment of any concert.

Dit tweedelige werk is gebaseerd op populaire Maleisische volksliedjes. De liedjes uit het eerste deel zijn Rasa Sayang eh (een liefdesliedje), Gelang Sipaku Gelang (een liedje over gemeenschapszin), Suriram (overeen meisje dat haar eeuwige vriendschap aanbiedt) en Di-Tanjung Katong (een liefdeslied dat zich afspeelt aan de zuidoostkust van Singapore). Deel twee bestaat uit Lenggang Kangkung (letterlijk ‘het zwaaien vande waterkers’), Katang Lompat (over de symboliek van de kikker) en Kenek kenek-lah Udang (een bruiloftslied). De twee delen van Singapore Rhapsody kunnen prima los van elkaar worden uitgevoerd.

Jacob de Haans Komposition besteht aus zwei Sätzen, die auf malaysischen Volksliedern basieren: zwei Liebeslieder, ein Lied über die Freundschaft, zwei Lieder über die Natur sowie ein Hochzeitslied. Die beiden Sätze von Singapore Rhapsody sind nicht untrennbar miteinander verbunden; sie können daher auch problemlos getrennt voneinander aufgeführt werden. Bringen Sie mit dieser Rhapsodie etwas Exotik in Ihr nächstes Konzert!

Singapour, la cité du Lion, est l’un des plus importants carrefours d’Asie. Singapour mélange habilement les cultures chinoises, malaises, indiennes et occidentales. La musique traditionnelle est l’image de la multiethnicité de cette ville-état. Les deux mouvements de cette composition s’inspirent de chants traditionnels malais. Le premier mouvement développe quatre chants traditionnels de caractère contrastant et contrasté. Le second mouvement est basé sur les chants Lenggang Kangkung (qui dépeint le gracieux mouvement du cresson de rizière), Katang Lompat (une chanson moraliste qui évoque le symbolisme de la grenouille) et un chant de mariage. Les deux mouvements de cetterhapsodie ne sont pas intimement liés. Il est donc possible de les interpréter séparément.

Singapore, la citt del leone, è uno dei più importanti crocevia dell’Asia. Singapore mischia abilmente le culture provenienti dalla Cina, dalla Malesia, dall’India a quelle occidentali. La musica tradizionale è l’immagine delle molte etnie di questa citt -stato. I due movimenti di questa composizione si ispirano a canti tradizionali della Malesia. Il primo movimento sviluppa quattro canti tradizionali di carattere contrastante e contrastato. Il secondo movimento è basato sui canti Lenggang Kangkung e Katang Lompat, che, come d’abitudine in oriente, descrivono animali e l’ambiente in cui vivono legandoli a simbolismi, e un canto tradizionale in occasione di matrimoni. I duemovimenti di questa rapsodia non sono legati tra loro, rendendo possibile eseguirli separatamente.

Concert band - Grade 4

SKU: MH.1-59913-070-X

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 10:00. Published by Manhattan Beach Music (MH.1-59913-070-X).

ISBN 9781599130705.

Prog ram Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

Concert band - Grade 4

SKU: MH.1-59913-071-8

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor Full Score. Duration 10:00. Published by Manhattan Beach Music (MH.1-59913-071-8).

ISBN 9781599130712.

Prog ram Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

Playera - Andaluza. Composed by Enrique Granados (1867-1916). Arranged by Douglas McLain. Baton Music Orchestral Series. Score only. Duration 5:00. Published by Baton Music (BF.BM637-SCORE).

Concert Band - Grade 1

SKU: BT.CMP-0983-06-040

Moon of Saturn. Composed by Mike Hannickel. Beginning Band. Concert Piece. Set (Score & Parts). Composed 2006. Curnow Music #CMP 0983-06-040. Published by Curnow Music (BT.CMP-0983-06-040).

9x12 inches. English.

A bold and powerful work for young bands! The aggressive theme sets the stage for this forceful original piece. In the spirit of The Planets by Holst, Titan-Moon of Saturn celebrates the multi-national Cassini-Huygens spacecraft that landed on Saturn’s moon, Titan, on January 14, 2005. There are many questions about Titan that this daring space exploration mission will seek to answer some of them. In addition to being a great piece for your own band, it is the perfect expression for a massed band performance. This is also a wonderful opportunity for some cross-curricular work with the science department.Mighty!

Das provokante Thema bereitet den Boden für diesen kühnen, kraftvollen Marsch für Jugendblasorchester. Im Geist von Die Planeten von Gustav Holst geschrieben, handelt Titan - Mond des Saturn von der Landung des Raumschiffs Cassini-Huygens auf selbigem Mond am 14. Januar 2005. Mike Hannickels Musik spiegelt das Abenteuer dieser Unternehmung und die vielen noch ungelösten Geheimnisse um Titan wider. Ein Thema, das die Fantasie beflügelt und motiviert!

Parmi toutes les lunes de Saturne, celle qui a le plus intrigué, c’est Titan. Deuxième plus grand satellite du système solaire, son étude est au coeur de la mission Cassini-Huygens. Le 14 janvier 2005, la sonde Huygens, séparée de l’orbiteur Cassini, a atteri sur Titan et fourni de nombreuses et précieuses informations sur ce monde part. Titan de Mike Hannickel est une marche puissante qui retrace cette aventure, fascinante plus d’un titre.

By Sean O'Loughlin. Concert Band. For Concert Band. Carl Fischer Symphonic Performance Series. Grade 5. Score and Set of Parts. Duration 3:10

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-1043706-010

Composed by Jacob De Haan. Performance Series. Festive and Solemn Music. Set (Score & Parts). Composed 2004. De Haske Publications #DHP 1043706-010. Published by De Haske Publications (BT.DHP-1043706-010).

Remembrance Day (Totengedenken) is a chorale-like piece in memory of those who have died in service. Jacob de Haan composed this work for a concert by the symphonic wind orchestra Symphonic Winds, which he conducted in Germany on Volkstrauertag (national remembrance day). The composition is based on a text from Totengedenken (Commemoration of Those Who Have Died). This narrative text is provided in four languages, and is intended to be spoken (using a microphone) ad libitum during the performance. Choir parts are also available to complement the performance.

Remem brance Day ist ein choralartiges Stück zum Angedenken an die Verstorbenen. Die Komposition basiert auf einem Text aus Totengedenken, herausgegeben vom Volksbund deutsche Kriegsgräberfürsorg e. Ein beiliegender Text kann zur angegebenen Zeit während der Aufführung gesprochen werden. Das Ganze kann ad libitum durch einen gemischten Chor, der lange Töne ohne Text singt, vervollständigt werden. Remembrance Day ist ein recht langsames, erhabenes Werk zur würdevollen Umrahmung von Trauer- oder Gedenkfeiern, zum Volkstrauertag und ähnlichen feierlichen Anlässen. Textauszug A Remembrance DayWir denken heute an die Opfer von Gewalt und Krieg, Kinder, Frauen und Männeraller Völker. Wir gedenken der Soldaten, die in den Weltkriegen starben, der Menschen, die durch Kriegshandlungen oder danach in Gefangenschaft, als Vertriebene und als Flüchtlinge ihr Leben verloren. Wir gedenken derer, die verfolgt und getötet wurden, weil sie einem anderen Volk angehörten, einer anderen Rasse zugerechnet wurden oder deren Leben wegen einer Krankheit oder Behinderung als lebensunwert bezeichnet wurde. Wir gedenken derer, die ums Leben kamen weil sie Widerstand gegen die Gewaltherrschaft geleistet haben, und derer, die den Tod fanden weil sie an ihrer Überzeugung oder an ihrem Glauben festhielten. Wir trauern um die Opfer der Kriege und Bürgerkriege unserer Tage, um die Opfer von Terrorismus und politischer Verfolgung. Wir gedenken heute auch derer, die in diesem Jahr bei uns durch Hass und Gewalt gegen Fremde und Schwache Opfer geworden sind. Wir trauern mit den Müttern und mit allen, die Leid tragen um die Toten. Aber unser Leben steht im Zeichen der Hoffnung auf Versöhnung unter den Menschen und Völkern, und unsere Verantwortung gilt dem Frieden unter den Menschen zu Hause und in der Welt.