Concert Band/Harmonie - Grade 3 SKU: BT.AMP-337-140 For the victims of...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-337-140
For
the victims of the
Japanese earthquake and
tsunami, March 2011.
Composed by Philip
Sparke. Anglo Music
Midway Series. Score
Only. Composed 2011. 16
pages. Anglo Music Press
#AMP 337-140. Published
by Anglo Music Press
(BT.AMP-337-140).
9x12
inches.
English-German-French-Dut
ch.
The composer
writes:On March 11th 2011
a massive 9.0- magnitude
earthquake occurred off
the coast of
north-eastern Japan.I'm
writing these programme
notes barely a week later
and the death toll caused
by the quake and
resulting tsunami already
exceeds 6000, with
thousands of people still
unaccounted for. I have
many friends associated
with many bands
throughout Japan and one
of these, Yutaka Nishida,
suggested I write a piece
to raise money to help
those affected by the
disaster. I was
immediately attracted by
the idea and have
arranged Cantilena (a
brass band piece recently
commissioned by the
Grenland International
Brass Festival, Norway)
for wind band, giving it
a new title tohonour my
friends in the Land of
the Rising Sun.I will be
donating royalties from
this piece to the
Japanese Red Cross
Society Emergency Relief
Fund and am delighted to
say that my distributors,
De Haske, who will
generously also donate
all net profits from
sales of this piece, have
pledged a substantial
advance payment to the
Red Cross so that what
little help this project
generates can be
immediate.It is my
sincere wish that this
'Band Aid' project will
allow wind bands around
the world support the
people of Japan, where
bands are a way of life
for many, in this
difficult time.Philip
Sparke
De
componist schrijft:Op 11
maart 2011 vond er vlak
bij de noordkust van
Japan een enorme
aardbeving - 9.0 op de
schaal van Richter -
plaats.Ik maak deze
werkbeschrijving
nauwelijks een week later
en het aantal doden dat
de aardbevingen de
daaropvolgende tsunami
hebben geëist, komt al
uit boven de 6000,
terwijl er nog steeds
duizenden mensen worden
vermist.Ik heb veel
vrienden die met orkesten
in heel Japan werken, en
een van hen, Yutaka
Nishida, steldevoor dat
ik een stuk zou schrijven
om geld bij elkaar te
krijgen voor hulp aan de
slachtoffers van de ramp.
Ik vond het meteen een
goed idee en ik heb
vervolgens Cantilena (
een brassbandwerk dat ik
recentelijk heb
gecomponeerd voorhet
Grenland International
Brass festival in
Noorwegen) gearrangeerd
voor harmonieorkest en er
een nieuwe titel aan
gegeven, als eerbewijs
aan mijn vrienden in het
land van de rijzende
zon.De royalty's die ik
voor dit werk krijg,zal
ik doneren aan het
Japanse noodhulpfonds van
het Rode Kruis, en ik ben
heel blij dat mijn
distributeur, De Haske,
die eveneens alle
nettowinst op dit werk
zal doneren, bereid is
alvast een grote
vooruitbetaling te doen
aanhet Rode Kruis, zodat
de hulp die uit dit
project voortkomt, hoe
bescheiden wellicht ook,
onmiddellijk in gang
gezet kan worden.Ik hoop
oprecht dat dit 'Band
Aid-project' het
blaasorkesten wereldwijd
mogelijk maakt de mensen
in Japante steunen - een
land waar blaasmuziek
voor velen een manier van
leven is.
Der
Komponist schreibt
über sein Stück:Am
11. März 2011
ereignete sich ein
Erdbeben der Stärke
9,0 vor der
nordöstlichen Küste
Japans.Diese
Werkbeschreibung schreibe
ich nur eine Woche
später. Die Zahl der
Todesopfer des Erdbebens
und des dadurch
ausgelösten Tsunamis
überschreitet bereits
die 6000, wobei noch
tausende Menschen als
vermisst gelten.Ich habe
zahlreiche Freunde in
Japan, die mit vielen
Blasorchestern im ganzen
Land verbunden sind.
Einer dieser Freunde,
Yutaka Nishida, schlug
mir vor, ein Stück zu
schreiben, um mit dem
Erlös den von der
Katastrophe betroffenen
Menschen zu helfen. Ich
war gleich begeistert von
dieser Idee und habe
daraufhin
Cantilena(ein
Brass-Band-Stück, das
ich jüngst für das
Grenland International
Brass Festival in
Norwegen komponierte)
für Blasorchester
bearbeitet und ihm zu
Ehren meiner Freunde im
Land der aufgehenden
Sonne einen neuen Titel
gegeben.Ich werde meine
Tantiemen für dieses
Stück dem Hilfsfonds
des Japanischen Roten
Kreuzes spenden. Ich bin
auch sehr froh, dass mein
Verlag De Haske, der
ebenfalls alle Erlöse
aus diesem Stück
spenden wird, dem Roten
Kreuz bereits im Voraus
eine bedeutende Summe
geschickt hat, damit der
kleine Beitrag, den
dieses Projekt beitragen
kann, sofort ankommt.Es
ist mein inniger Wunsch,
dass dieses Band
Aid“-Projekt
Blasorchestern auf der
ganzen Welt
ermöglichen wird, den
Menschen in Japan zu
helfen, wo Blasorchester
in dieser schweren Zeit
für viele ein Weg
sind, das Leben aufrecht
zu erhalten.“Philip
Sparke
La
recente tragedia del
Giappone, messo in
ginocchio dal terremoto,
ha spinto Philip Sparke a
comporre The Sun Will
Rise Again (Il sole
sorger nuovamente), un
brano che vuole essere un
messaggio di solidariet
al popolo nipponico, ma
anche un aiuto concreto:
gli introiti saranno
interamente devoluti, sia
dal compositore sia dalla
casa editrice De Haske,
alla Croce Rossa
giapponese.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
Solemnity Orchestre d'harmonie - Facile Molenaar Edition
Concert Band - Grade 3 SKU: ML.013751080 Composed by Alexandre Carlin. Fu...(+)
Concert Band - Grade 3
SKU: ML.013751080
Composed by Alexandre
Carlin. Full set.
Molenaar Edition
#013751080. Published by
Molenaar Edition
(ML.013751080).
Solemnity was
composed when the
composer came back from
his first Midwest Clinic
in Chicago. Inspired by
all the concert bands
performing there, and all
the fellow composers met
at this occasion, he
decided to write a kind
of fanfare work, leading
to a fast theme on a
driving rhythm.The piece
begins like a fanfare
with a solemn character
which gives the title of
the work, the brass here
have a nice part to play.
Then, a new theme full of
energy, using the same
rhythmic motive as the
fanfare theme, is exposed
by the high woodwinds and
finally by more
instruments. The central
part is a slow one, where
a melancolic theme is
exposed by the oboe, and
finally the rest of the
band. After a fugato
section, the energic
theme is back to lead to
a brilliant
coda.
Solemnity
werd gecomponeerd toen de
componist terugkwam van
zijn eerste Midwest
Clinic in Chicago.
Geïnspireerd door alle
concertbands die daar
optraden en alle
collega-componisten die
hij bij deze gelegenheid
ontmoette, besloot hij
een soort fanfarewerk te
schrijven, leidend naar
een snel thema op een
stuwend ritme.Het stuk
begint als een fanfare
met een plechtig karakter
dat de titel van het werk
geeft, de koperblazers
hebben hier een mooie rol
te spelen. Dan volgt een
nieuw thema vol energie,
gebruikmakend van
hetzelfde ritmische
motief als het thema van
de fanfare, belicht door
de hoge houtblazers en
tenslotte door meer
instrumenten. Het
centrale deel is
langzaam, waar een
melancholisch thema wordt
belicht door de hobo en
uiteindelijk de rest van
de band. Na een
fugatogedeelte is het
energieke thema terug om
te leiden naar een
briljante
coda.
Solemnity a
été composée lorsque
le compositeur est revenu
de sa première Midwest
Clinic à Chicago.
Inspiré par tous les
orchestres de concert qui
s'y produisaient et par
tous les collègues
compositeurs rencontrés
à cette occasion, il a
décidé d'écrire une
sorte de fanfare,
conduisant à un thème
rapide sur un rythme
entraînant.La pièce
commence comme une
fanfare avec un
caractère solennel qui
donne le titre de
l'œuvre, les cuivres ont
ici un beau rôle à
jouer. Ensuite, un
nouveau thème plein
d'énergie, utilisant le
même motif rythmique que
le thème de la fanfare,
est exposé par les bois
aigus et finalement par
d'autres instruments. La
partie centrale est une
partie lente, où un
thème mélancolique est
exposé par le hautbois,
puis par le reste de
l'orchestre. Après une
section fugato, le thème
énergique est de retour
pour mener à une
brillante
coda.
Solemnity
wurde komponiert, als der
Komponist von seiner
ersten Midwest Clinic in
Chicago zurückkam.
Inspiriert von all den
Konzertkapellen, die dort
auftraten, und all den
Komponistenkollegen, die
er bei dieser Gelegenheit
traf, beschloss er, eine
Art Fanfare zu schreiben,
die zu einem schnellen
Thema auf einem
treibenden Rhythmus
führt.Das Stück beginnt
wie eine Fanfare mit
einem feierlichen
Charakter, der dem Werk
seinen Titel gibt; die
Blechbläser haben hier
einen schönen Part zu
spielen. Dann folgt ein
neues, energiegeladenes
Thema, das dasselbe
rhythmische Motiv wie das
Fanfarenmotiv verwendet
und von den hohen
Holzbläsern und
schließlich von weiteren
Instrumenten vorgetragen
wird. Der Mittelteil ist
ein langsamer Teil, in
dem ein melancholisches
Thema von der Oboe und
schließlich vom Rest des
Orchesters vorgetragen
wird. Nach einem
Fugato-Abschnitt kehrt
das energische Thema
zurück und führt zu
einer brillanten
Coda.
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.
Odysseia Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-140 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-140
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2008. 52
pages. De Haske
Publications #DHP
1084443-140. Published by
De Haske Publications
(BT.DHP-1084443-140).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.
Odysseia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-010 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-010
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2008.
De Haske Publications
#DHP 1084443-010.
Published by De Haske
Publications
(BT.DHP-1084443-010).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.
Concert Band (FULL SCORE) - Level 3.5 SKU: HL.4007480 One Village Unit...(+)
Concert Band (FULL SCORE)
- Level 3.5
SKU:
HL.4007480
One
Village United.
Composed by Thomas Doss.
Mitropa Music Concert
Band. Concert. Softcover.
Duration 480 seconds.
Mitropa Music
#2220-21-140M. Published
by Mitropa Music
(HL.4007480).
UPC:
196288058038.
Intro
duction: Like a dark
veil, an ominous sense of
foreboding takes hold
across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 74: Like a
dark veil, an ominous
sense of foreboding takes
hold across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 82: People
help each other out.
Neighbourly assistance
and support within one's
own family becomes more
apparent. We stand by
each other. Suddenly we
have the time for things
that we did not have
before. Time for
reflection... Bar 106: A
new era commences.
Finally, hope reappears.
We leave our houses, but
nothing is quite the same
anymore. With renewed
strength, people begin to
perceive the future in a
positive and optimistic
way once again. With
greater attention and
awareness of the here and
now, we feel that,
despite it all, we can be
happy.
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.
By Brian Balmages. FJH Starter Series. Very few compositions offer the opportuni...(+)
By Brian Balmages. FJH
Starter Series. Very few
compositions offer the
opportunity to truly work
on musical expression
without the technical
demands often placed on
students. I am often
disappointed by the
number of directors who
avoid lyrical works
because their students
"can't play that kind of
music without sounding
bad . . " As a result, I
have written a short
lyrical piece that uses
only six notes in all
instruments and is of
moderate length for young
musicians. It is my
sincere hope that this
work will open the door
that many ensembles have
hesitated to pass
through. This piece is
the second of three
included in Midnight
Suite. Score for this
title: B1321S. Extra part
for this title: B1321P.
Concert Band. Level: 0.5.
Score and Set of Parts.
Published by The FJH
Music Company Inc
Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-140
Composed by Jan Bosveld.
Score Only. 40 pages.
Gobelin Music
Publications #GOB
000712-140. Published by
Gobelin Music
Publications
(BT.GOB-000712-140).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
Achnaton Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-010
Composed by Jan Bosveld.
Set (Score & Parts). 38
pages. Gobelin Music
Publications #GOB
000712-010. Published by
Gobelin Music
Publications
(BT.GOB-000712-010).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
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.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Composed by Wilco
Moerman. Set (Score &
Parts). 48 pages. Gobelin
Music Publications #GOB
001140-010. Published by
Gobelin Music
Publications
(BT.GOB-001140-010).
In Theme Park
Fun! your orchestra pays
a visit to an amusement
park. During your visit,
you will experience some
spectacular rides and
attractions this theme
park offers. The
uniqueness of Theme Park
Fun! is the interplay
between music and(moving)
images. Animations and
illustrations support the
visual
composition.
Pa
rt 1: The Entrance &
Parade [with
animation] The
opening of the park is a
fact. A day full of fun
and pleasure awaits! You
and the other visitors
willbe confronted with
all the rides,
attractions and
adventures the theme park
has to offer. Which ride
shall we do first?! There
is so much to do and
experience on this day in
the park! A parade of
colorful floats and park
figures is passing
by. Letthe fun
begin!
Part 2:
The Haunted House [with
animation] The
only ride in the park
that is not related to
fun, is the Haunted
House. Here visitors will
be challenged to visit a
house full of ghosts,
creepy figures and
otherominous things. The
clock strikes twelve,
there is no turning back.
Ghosts are whispering,
yelling, screaming...
Fortunately it is almost
one oclock, so we can
leave this creepy place
quickly.
Part
3: The Swinging Galleon
[withillustrations]What a huge pirate
ship! Each time you swing
back and forth, you will
feel that weird feeling
in your stomach. When you
are thrown completely
into the top you will
have a fantastic view
over the park, but you
can not enjoy itfor long.
Before you know the ship
swings back the other
way.
Part 4:
The Fairy Tale Ride [with
illustrations] Aft
er all those exciting and
spectacular rides and
attractions, it is time
for a peaceful tour in
The Fairy Tale
Ride.Surrounded by a
fairytale setting, you
will discover fable
figures, talking animals
and colorful designs.
Such a beauty and
tranquility. Having had
this experience, we are
ready again for the big
rides in the
park!
Part 5:
The Bumper Cars[with
illustrations] Now
its time to crawl behind
the wheel of the Bumper
Cars! Shall we all chase
the conductor?! Before
you know you are hit by
another visitor or you
will bump against someone
else. In this tough ride
you can prove yourselfas
a real driver, or perhaps
as a really bad
one.
Part 6:
The Roller Coaster [with
illustrations] The
largest, fastest and
scariest ride in the park
... we should definitely
do the Roller Coaster!
All together in the
train,
theover-the-shoulder
restraints are
lowering... be ready to
ride. The train leaves
the station and is
heading for the big lift
hill. It will be very
scary when the train
reaches the top and the
train will be plunged
down the first drop!
Loops,corkscrews and
other spectacular coaster
elements will follow...
Before you know it, the
ride of your life is
over. Shall we ride it
again?!
Part 7:
Leaving the Park [with
animation] Unfortu
nately everything comes
to an end. Thisday in the
theme park is over, but
we have a lot new
experiences to talk
about! The memories of
all the funny and
spectacular rides will
come up when we walk
through the park to the
exit. Just one look over
the shoulder, the
amusement park figuresare
waving at us. Hopefully
we will come back again
soon!
In
'Theme Park Fun!' bezoek
je met de hele
muziekvereniging een
pretpark. Tijdens het
bezoek word je op
muzikale wijze
geconfronteerd met een
aantal spectaculaire
attracties die het
pretpark rijk is. Het
unieke van 'Theme Park
Fun!'is het samenspel
tussen muziek en
beeld.
Deel 1:
'The Entrance & Parade'
[met
animatiefilm] De
opening van het pretpark
is een feit. De dag vol
plezier kan beginnen en
de bezoekers worden hier
geconfronteerdmet alle
attracties en avonturen
die ze in het pretpark
staan te wachten. In
welke attractie zullen we
als eerst stappen?! Er is
zoveel te doen en te
beleven deze dag in het
pretpark! Een parade met
parkfiguren en kleurrijke
praalwagenskomt voorbij,
de pret kan
beginnen!
Deel
2: 'The Haunted House'
[met
animatiefilm] De
enige attractie in het
pretpark die geen 'pret'
uitstraalt, is het
spookhuis. Hier worden de
bezoekers uitgedaagd om
zichte begeven in een
huis vol spoken, geesten
en andere onheilspellende
dingen. De klok slaat 12
keer, er is geen weg meer
terug. Gefluister...,
geschreeuw... Gelukkig
slaat de klok bijna 1 uur
en kunnen we deze ongure
plek snel
verlaten.
Deel3
: 'The Swinging Galleon'
[met
illustraties] Wat
een groot piratenschip!
Elke keer wanneer je heen
en weer schommelt, voel
je dat rare gevoel in je
buik. Wanneer je helemaal
in de top geslingerd
bentheb je een
fantastisch uitzicht over
het pretpark, maar je
kunt er niet lang van
genieten. Voor je het
weet zwaait het schip
weer de andere kant
op.
Deel 4:
'The Fairy Tale Ride'
[met
illustraties] Na
al die spannendeen
spectaculaire attracties
is het tijd voor een
rustig ritje in 'The
Fairy Tale Ride'. Omgeven
door een sprookjesachtige
omgeving waan je je
tussen elfjes, pratende
dieren en kleurrijke
decors. Wat een
schoonheid en rust,
hierna.
Composed by Wilco
Moerman. Score Only.
Gobelin Music
Publications #GOB
001140-140. Published by
Gobelin Music
Publications
(BT.GOB-001140-140).
In Theme Park
Fun! your orchestra pays
a visit to an amusement
park. During your visit,
you will experience some
spectacular rides and
attractions this theme
park offers. The
uniqueness of Theme Park
Fun! is the interplay
between music and(moving)
images. Animations and
illustrations support the
visual
composition.
Pa
rt 1: The Entrance &
Parade [with
animation] The
opening of the park is a
fact. A day full of fun
and pleasure awaits! You
and the other visitors
willbe confronted with
all the rides,
attractions and
adventures the theme park
has to offer. Which ride
shall we do first?! There
is so much to do and
experience on this day in
the park! A parade of
colorful floats and park
figures is passing
by. Letthe fun
begin!
Part 2:
The Haunted House [with
animation] The
only ride in the park
that is not related to
fun, is the Haunted
House. Here visitors will
be challenged to visit a
house full of ghosts,
creepy figures and
otherominous things. The
clock strikes twelve,
there is no turning back.
Ghosts are whispering,
yelling, screaming...
Fortunately it is almost
one oclock, so we can
leave this creepy place
quickly.
Part
3: The Swinging Galleon
[withillustrations]What a huge pirate
ship! Each time you swing
back and forth, you will
feel that weird feeling
in your stomach. When you
are thrown completely
into the top you will
have a fantastic view
over the park, but you
can not enjoy itfor long.
Before you know the ship
swings back the other
way.
Part 4:
The Fairy Tale Ride [with
illustrations] Aft
er all those exciting and
spectacular rides and
attractions, it is time
for a peaceful tour in
The Fairy Tale
Ride.Surrounded by a
fairytale setting, you
will discover fable
figures, talking animals
and colorful designs.
Such a beauty and
tranquility. Having had
this experience, we are
ready again for the big
rides in the
park!
Part 5:
The Bumper Cars[with
illustrations] Now
its time to crawl behind
the wheel of the Bumper
Cars! Shall we all chase
the conductor?! Before
you know you are hit by
another visitor or you
will bump against someone
else. In this tough ride
you can prove yourselfas
a real driver, or perhaps
as a really bad
one.
Part 6:
The Roller Coaster [with
illustrations] The
largest, fastest and
scariest ride in the park
... we should definitely
do the Roller Coaster!
All together in the
train,
theover-the-shoulder
restraints are
lowering... be ready to
ride. The train leaves
the station and is
heading for the big lift
hill. It will be very
scary when the train
reaches the top and the
train will be plunged
down the first drop!
Loops,corkscrews and
other spectacular coaster
elements will follow...
Before you know it, the
ride of your life is
over. Shall we ride it
again?!
Part 7:
Leaving the Park [with
animation] Unfortu
nately everything comes
to an end. Thisday in the
theme park is over, but
we have a lot new
experiences to talk
about! The memories of
all the funny and
spectacular rides will
come up when we walk
through the park to the
exit. Just one look over
the shoulder, the
amusement park figuresare
waving at us. Hopefully
we will come back again
soon!
In
'Theme Park Fun!' bezoek
je met de hele
muziekvereniging een
pretpark. Tijdens het
bezoek word je op
muzikale wijze
geconfronteerd met een
aantal spectaculaire
attracties die het
pretpark rijk is. Het
unieke van 'Theme Park
Fun!'is het samenspel
tussen muziek en beeld.
Deel 1: 'The
Entrance & Parade' [met
animatiefilm] De
opening van het pretpark
is een feit. De dag vol
plezier kan beginnen en
de bezoekers worden hier
geconfronteerdmet alle
attracties en avonturen
die ze in het pretpark
staan te wachten. In
welke attractie zullen we
als eerst stappen?! Er is
zoveel te doen en te
beleven deze dag in het
pretpark! Een parade met
parkfiguren en kleurrijke
praalwagenskomt voorbij,
de pret kan
beginnen!
Deel
2: 'The Haunted House'
[met
animatiefilm] De
enige attractie in het
pretpark die geen 'pret'
uitstraalt, is het
spookhuis. Hier worden de
bezoekers uitgedaagd om
zichte begeven in een
huis vol spoken, geesten
en andere onheilspellende
dingen. De klok slaat 12
keer, er is geen weg meer
terug. Gefluister...,
geschreeuw... Gelukkig
slaat de klok bijna 1 uur
en kunnen we deze ongure
plek snel
verlaten.
Deel3
: 'The Swinging Galleon'
[met
illustraties] Wat
een groot piratenschip!
Elke keer wanneer je heen
en weer schommelt, voel
je dat rare gevoel in je
buik. Wanneer je helemaal
in de top geslingerd
bentheb je een
fantastisch uitzicht over
het pretpark, maar je
kunt er niet lang van
genieten. Voor je het
weet zwaait het schip
weer de andere kant
op.
Deel 4:
'The Fairy Tale Ride'
[met
illustraties] Na
al die spannendeen
spectaculaire attracties
is het tijd voor een
rustig ritje in 'The
Fairy Tale Ride'. Omgeven
door een sprookjesachtige
omgeving waan je je
tussen elfjes, pratende
dieren en kleurrijke
decors. Wat een
schoonheid en rust,
hierna.
This Is It Orchestre d'harmonie [Conducteur] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-140-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1919-12-140-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Score
Only. Composed 2012. 20
pages. Music Sales
#1919-12-140 MS.
Published by Music Sales
(BT.1919-12-140-MS).
9x12 inches.
English.
This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento.
This Is It Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-010-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1919-12-010-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Set
(Score & Parts). Composed
2012. Music Sales
#1919-12-010 MS.
Published by Music Sales
(BT.1919-12-010-MS).
9x12 inches.
English.
This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento.
River City Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1155623-140 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1155623-140
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Score
Only. Composed 2015. 12
pages. De Haske
Publications #DHP
1155623-140. Published by
De Haske Publications
(BT.DHP-1155623-140).
English-German-French-
Dutch.
Sacramento,
in the American state of
California, is also known
as River City - which is
also the name of the
concert band that
commissioned Jacob de
Haan to write this
sonorous, lyrical work on
the occasion of the 37th
Annual ACB National
Convention, which took
place in 2015 in Rancho
Cordova. All of the fun
that the musicians will
have with the rich
melodic material provided
for all instrument groups
will immediately radiate
into the audience!
Sacramento is een
stad in de Amerikaanse
staat Californië. De
stad staat ook wel bekend
als River City. Het
gelijknamige
harmonieorkest gaf Jacob
de Haan de opdracht dit
sonore, lyrische werk te
schrijven ter gelegenheid
van de 37ste Jaarlijkse
ACB Nationale Conventie
in 2015 in Rancho
Cordova. Met dit rijke
melodische materiaal is
plezier verzekerd voor
zowel muzikanten als
publiek!
River
City ist der
inoffizielle Name der
kalifonischen Stadt
Sacramento und auch der
Name des Blasorchesters,
in dessen Auftrag
lyrische Werk
anlässlich der 37.
Jacob de Haan dieses
klangvolle, Jährlichen
ACB Convention 2015 in
Rancho Cordova schrieb.
Der große
Spielspaß, den die
Musiker mit dem
reichhaltigen melodischen
Material haben werden,
das gerecht auf alle
Instrumentengruppen
verteilt ist, ist absolut
ansteckend!
Sacramento, nello
Stato della California,
è anche conosciuta
come River City. River
City è anche il nome
della banda da concerto
che ha commissionato a
Jacob de Haan la
scrittura di questo
lavoro sonoro e lirico in
occasione della 37°
Annual ACB National
Convention, che ha avuto
luogo nel 2015 a Rancho
Cordova. Il divertimento
che i musicisti avranno
con il ricco materiale
melodico, assegnato a
tutti i gruppi
strumentali, si irradier
immediatamente al
pubblico!
Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compo...(+)
Part I, II, III and
IV. Composed by Alex
Poelman. The Best
Original Compositions for
Concert Band/Catalogue
Master Works Vol. 1.
Molenaar Masterpieces.
Recorded on The Seven
Wonders of the Ancient
World (ML.311080720).
Full set. Duration 20
minutes, 58 seconds.
Published by Molenaar
Edition (ML.012792100).
Singapura Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-010 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-0981357-010
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Set (Score & Parts).
Composed 1998. De Haske
Publications #DHP
0981357-010. Published by
De Haske Publications
(BT.DHP-0981357-010).
‘Singapura
€™ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€
. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
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.
Singapura Suite Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-140 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-0981357-140
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Score Only. Composed
1998. 76 pages. De Haske
Publications #DHP
0981357-140. Published by
De Haske Publications
(BT.DHP-0981357-140).
‘Singapura
€™ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€
. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
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.
Solemnitas Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1216343-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1216343-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2021.
De Haske Publications
#DHP 1216343-010.
Published by De Haske
Publications
(BT.DHP-1216343-010).
Solemnitas Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1216343-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1216343-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2021. 23
pages. De Haske
Publications #DHP
1216343-140. Published by
De Haske Publications
(BT.DHP-1216343-140).
Dakota Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-010 Indian Sketc...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1023116-010
Indian Sketches.
Composed by Jacob De
Haan. Performance Series.
Concert Piece. Set (Score
& Parts). Composed 2002.
De Haske Publications
#DHP 1023116-010.
Published by De Haske
Publications
(BT.DHP-1023116-010).
9x12 inches.
The
Dakota (or Sioux) Indians
from the American states
of North and South Dakota
form the central figures
in this composition. The
work consists of five
movements in which the
culture and history of
these Indians have been
portrayed through musical
paintings by making use
of an old South Dakota
Indian melody.
Die Dakota- (oder
Sioux-) Indianer der
amerikanischen Staaten
Nord- und Süd-Dakota
sind die zentralen
Figuren in dieser
Komposition. Das Werk
besteht aus fünf
Sätzen, in welchen die
Kultur und die Geschichte
dieser Indianer
dargestellt werden. In
einigen Sätzen
verwendete Jacob de Haan
eine alte indianische
Melodie aus
Süd-Dakota.1. The
Great Spirit
(‘Der Große
Geist’)Die Kultur
der Dakota-Indianer war
der irdischen und der
spirituellen Welt
verbunden. Sie glaubten,
dass der Große Geist
die Erde schuf, indem er
einen schwarzen Ball auf
das Wasser warf und dann
aus einem zweiten Ball
alles Lebendige schuf.2.
Buffalo Hunting
(‘Büffeljagdâ
™)Auf einen
mächtigenBüffel
zuzureiten erforderte
Können und Mut. Die
Männer ergriffen
jedoch mit Freude die
Chance, sich selbst auf
der Jagd zu beweisen.3.
Smoking the Pipe
(‘Die Pfeife
rauchen’)Die
Pfeife galt als
Friedenssymbol und wurde
unter Männern und
Stämmen benutzt. Die
Pfeife rauchen besiegelte
einen Bund des Vertrauens
und heilige, Pfeife
rauchende Männer
nahmen so Kontakt mit dem
Großen Geist auf.4.
The Ghost Dance
(‘Der
Geistertanz’)Diese
r religiöse Tanz der
verlorenen Hoffnung
basierte auf Gebet, Tanz
und Gesang. Im Jahre 1890
engagierten die Soldaten
Geistertänzer an einem
Ort namens Wounded
Knee.5. Pilgrims at
Wounded Knee
(‘Pilger am Wounded
Knee‘)Die
Tragödie von Wounded
Knee ist sehr schmerzhaft
für die Indianer.
Viele pilgern noch immer
zu der heiligen, vom Wind
verwehten Hügelspitze,
auf der so viele
Unschuldige den Tod
fanden.
Ispirandosi a
certi aspetti della
cultura e della storia
degli indiani Sioux;
Jacob de Haan ha
realizzato uno splendido
affresco musicale in
omaggio al primo popolo
delle sconfinate praterie
degli Stati Americani del
Dakota del Nord e del
Dakota del Sud. Per
conservare
l’autenticit di
questo popolo indiano
anche attraverso la sua
musica, il compositore ha
integrato
un’antica melodia
indiana del Dakota del
Sud nella sua
composizione.
Dakota Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-140 Indian Sketc...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1023116-140
Indian Sketches.
Composed by Jacob De
Haan. Performance Series.
Concert Piece. Score
Only. Composed 2002. 44
pages. De Haske
Publications #DHP
1023116-140. Published by
De Haske Publications
(BT.DHP-1023116-140).
9x12 inches.
The
Dakota (or Sioux) Indians
from the American states
of North and South Dakota
form the central figures
in this composition. The
work consists of five
movements in which the
culture and history of
these Indians have been
portrayed through musical
paintings by making use
of an old South Dakota
Indian melody.
Die Dakota- (oder
Sioux-) Indianer der
amerikanischen Staaten
Nord- und Süd-Dakota
sind die zentralen
Figuren in dieser
Komposition. Das Werk
besteht aus fünf
Sätzen, in welchen die
Kultur und die Geschichte
dieser Indianer
dargestellt werden. In
einigen Sätzen
verwendete Jacob de Haan
eine alte indianische
Melodie aus
Süd-Dakota.1. The
Great Spirit
(‘Der Große
Geist’)Die Kultur
der Dakota-Indianer war
der irdischen und der
spirituellen Welt
verbunden. Sie glaubten,
dass der Große Geist
die Erde schuf, indem er
einen schwarzen Ball auf
das Wasser warf und dann
aus einem zweiten Ball
alles Lebendige schuf.2.
Buffalo Hunting
(‘Büffeljagdâ
™)Auf einen
mächtigenBüffel
zuzureiten erforderte
Können und Mut. Die
Männer ergriffen
jedoch mit Freude die
Chance, sich selbst auf
der Jagd zu beweisen.3.
Smoking the Pipe
(‘Die Pfeife
rauchen’)Die
Pfeife galt als
Friedenssymbol und wurde
unter Männern und
Stämmen benutzt. Die
Pfeife rauchen besiegelte
einen Bund des Vertrauens
und heilige, Pfeife
rauchende Männer
nahmen so Kontakt mit dem
Großen Geist auf.4.
The Ghost Dance
(‘Der
Geistertanz’)Diese
r religiöse Tanz der
verlorenen Hoffnung
basierte auf Gebet, Tanz
und Gesang. Im Jahre 1890
engagierten die Soldaten
Geistertänzer an einem
Ort namens Wounded
Knee.5. Pilgrims at
Wounded Knee
(‘Pilger am Wounded
Knee‘)Die
Tragödie von Wounded
Knee ist sehr schmerzhaft
für die Indianer.
Viele pilgern noch immer
zu der heiligen, vom Wind
verwehten Hügelspitze,
auf der so viele
Unschuldige den Tod
fanden.
Ispirandosi a
certi aspetti della
cultura e della storia
degli indiani Sioux;
Jacob de Haan ha
realizzato uno splendido
affresco musicale in
omaggio al primo popolo
delle sconfinate praterie
degli Stati Americani del
Dakota del Nord e del
Dakota del Sud. Per
conservare
l’autenticit di
questo popolo indiano
anche attraverso la sua
musica, il compositore ha
integrato
un’antica melodia
indiana del Dakota del
Sud nella sua
composizione.
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-503-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.AMP-503-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2021. 40 pages.
Anglo Music Press #AMP
503-140. Published by
Anglo Music Press
(BT.AMP-503-140).
English-German-French-
Dutch.
A Little
Klezmer Suite was
commissioned by Rushton
Park High School to
celebrate the 50th
anniversary of their band
programme. They gave the
premiere in a virtual
online concert in October
2020. Klezmer music
originated inthe
‘shtetl’
(villages) and the
ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as
‘klezmorim’,
had performed at
celebrations,
particularly weddings,
since the early Middle
Ages. 'Klezmer' is a
Yiddish termcombining the
Hebrew words
‘kley’
(instrument) and
‘zemer’
(song). The roots of the
style are found in
secular melodies, popular
dances, Jewish
‘hazanut’
(cantorial music) and
also the
‘nigunim’,
the wordless melodies
intoned bythe
‘Hasidim’
(orthodox Jews). The
melodies used in the four
movements of A Little
Klezmer Suite have
traditionally been used
in Jewish wedding
ceremonies and
celebrations.
A
Little Klezmer Suite
werd geschreven in
opdracht van de Rushton
Park High School ter
gelegenheid van het
vijftigjarig bestaan van
het blaasorkest van de
school. De première
vond in oktober 2020
plaats tijdens een
virtueelonlineconcert.
Klezmermuziek is ontstaan
in de 'sjtetls' (dorpen)
en getto’s van
Oost-Europa, waar
rondreizende Joodse
troubadours, de zogeheten
klezmorim, sinds de
vroege middeleeuwen
optraden bij feesten, met
name bruiloften.Klezmer
is een Jiddische term
waarin de Hebreeuwse
woorden 'kley'
(instrument) en 'zemer'
(lied) zijn gecombineerd.
De oorsprong van de stijl
is te vinden in
wereldlijke melodieën,
populaire dansen, de
chazanoet muziek uit
desynagoge met een
voorzanger en de nigunim,
de tekstloze melodieën
die worden gezongen door
de orthodoxe chassidische
joden. De melodieën
die in de vier delen van
A Little Klezmer
Suite zijn gebruikt,
werden vanoorsprong ten
gehore gebracht op Joodse
bruiloftsplechtigheden en
huwelijksfeesten.
A Little Klezmer
Suite wurde von der
Rushton Park High School
in Auftrag gegeben, um
den 50. Geburtstag ihres
Blasorchesters zu feiern.
Die Uraufführung fand
im Rahmen eines
virtuellen
Online-Konzerts im
Oktober 2020 statt.Die
Klezmer-Musik entstand in
den sogenannten
Schtetl“
(Dörfern) und in den
osteuropäischen
Ghettos, in denen
fahrende jüdische
Troubadoure, bekannt als
Klezmorim“, seit
dem frühen Mittelalter
bei Festen, insbesondere
beiHochzeiten,
aufgetreten sind.
Klezmer“ ist ein
jiddischer Begriff, der
die hebräischen
Wörter kley“
(Instrument) und
zemer“ (Lied)
miteinander kombiniert.
Der Ursprung des Stils
liegt in weltlichen
Melodien,
Volkstänzen,jüdisch
er Hazanut“
(Kantorenmusik) und in
den Nigunim“
Melodien ohne Text, die
von den Chassidim
(orthodoxen Juden)
intoniert wurden. Die
Melodien, die in den vier
Sätzen von A Little
Klezmer Suite
vorkommen,
wurdentraditionell bei
jüdischen
Hochzeitszeremonien und
Feiern
gespielt.