Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Louis Armstrong's Legend Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Scomegna Edizioni Musicali
(A medley including: Basin Street Blues, Tiger Rag, St.Louis Blues and That's a ...(+)
(A medley including:
Basin Street Blues, Tiger
Rag, St.Louis Blues and
That's a Plenty).
Arranged by Giancarlo
Gazzani. Concert band.
Jazz Music. Grade 4.
Score and set of parts.
Duration 10:50
Old Hundredth Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-238-140 Composed by Louis Bou...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-238-140
Composed by Louis
Bourgeois. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Hymns & Chorals. Score
Only. Composed 2007. 16
pages. Anglo Music Press
#AMP 238-140. Published
by Anglo Music Press
(BT.AMP-238-140).
9x12
inches.
English-German-French-Dut
ch.
The tune Old
Hundredth is one of
the best-known melodies
in all Christian musical
traditions and first
appeared in the 1551
psalter Pseaumes Octante
Trois de David, where it
is used as a setting for
a version of Psalm 134;
it is usually attributed
to the French composer
Louis Bourgeois (c.1510 -
c.1560). The melody was
then used in 1561 by the
Scots clergyman, William
Kethe in Sternhold and
Hopkins’ Psalter
for his paraphrase of
Psalm 100 - All People
that on Earth do
Dwell<(I>, which is still
the most familiar hymn
sung to this noble tune.
When Tate and
Brady’s New
Version of the Psalms was
published in 1696, the
melody became know as the
‘old’
version - henceits
current title. This
arrangement presents
three contrasting verses
and is effective as a
concert piece as well as
an instrumental interlude
as part of a church
service or wedding.
De melodie van
Old Hundredth is
een van de bekendste in
alle christelijke
muziektradities, ze
verscheen voor het eerst
in Pseaumes Octante
Trois de David uit
1551. De muziek wordt
meestal toegeschreven aan
de Fransecomponist Louis
Bourgeois
(ca.1510-ca.1560). In
1561werd de melodie
gebruikt door de Schotse
geestelijke William Kethe
voor zijn parafrase van
psalm 100. Later werd de
melodie in Engeland
bekend als de
‘oude’
versie - daar komt ookde
huidige titel vandaan.
Dit arrangement, met drie
contrasterende
coupletten, is geschikt
als concertwerk of als
instrumentaal tussenspel
tijdens een kerkdienst of
huwelijksceremonie. Old Hundtredth
ist eine der bekanntesten
Melodien aller
christlichen
Musiküberlieferunge
n. Es erschien erstmals
in dem Psalter
Pseaumes Octante Trois
de David von 1551, wo
es als Satz für
zwei Psalmen verwendet
wurde. Diese Bearbeitung
präsentiert drei
kontrastierende Strophen
und kann sehr
wirkungsvoll sowohl als
Konzertwerk als auch als
instrumentales
Zwischenspiel in einem
Gottesdienst oder
während einer
Hochzeitszeremonie
eingesetzt
werden.
Old Hundredth Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-238-010 Composed by Louis Bou...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-238-010
Composed by Louis
Bourgeois. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Hymns & Chorals. Set
(Score & Parts). Composed
2007. Anglo Music Press
#AMP 238-010. Published
by Anglo Music Press
(BT.AMP-238-010).
9x12
inches.
English-German-French-Dut
ch.
The tune Old
Hundredth is one of
the best-known melodies
in all Christian musical
traditions and first
appeared in the 1551
psalter Pseaumes Octante
Trois de David, where it
is used as a setting for
a version of Psalm 134;
it is usually attributed
to the French composer
Louis Bourgeois (c.1510 -
c.1560). The melody was
then used in 1561 by the
Scots clergyman, William
Kethe in Sternhold and
Hopkins’ Psalter
for his paraphrase of
Psalm 100 - All People
that on Earth do
Dwell<(I>, which is still
the most familiar hymn
sung to this noble tune.
When Tate and
Brady’s New
Version of the Psalms was
published in 1696, the
melody became know as the
‘old’
version - henceits
current title. This
arrangement presents
three contrasting verses
and is effective as a
concert piece as well as
an instrumental interlude
as part of a church
service or wedding.
De melodie van
Old Hundredth is
een van de bekendste in
alle christelijke
muziektradities, ze
verscheen voor het eerst
in Pseaumes Octante
Trois de David uit
1551. De muziek wordt
meestal toegeschreven aan
de Fransecomponist Louis
Bourgeois
(ca.1510-ca.1560). In
1561werd de melodie
gebruikt door de Schotse
geestelijke William Kethe
voor zijn parafrase van
psalm 100. Later werd de
melodie in Engeland
bekend als de
‘oude’
versie - daar komt ookde
huidige titel vandaan.
Dit arrangement, met drie
contrasterende
coupletten, is geschikt
als concertwerk of als
instrumentaal tussenspel
tijdens een kerkdienst of
huwelijksceremonie. Old Hundtredth
ist eine der bekanntesten
Melodien aller
christlichen
Musiküberlieferunge
n. Es erschien erstmals
in dem Psalter
Pseaumes Octante Trois
de David von 1551, wo
es als Satz für
zwei Psalmen verwendet
wurde. Diese Bearbeitung
präsentiert drei
kontrastierende Strophen
und kann sehr
wirkungsvoll sowohl als
Konzertwerk als auch als
instrumentales
Zwischenspiel in einem
Gottesdienst oder
während einer
Hochzeitszeremonie
eingesetzt
werden.
Concert Band/Harmonie and Euphonium Solo - Grade 4 SKU: BT.AMP-449-010 (+)
Concert Band/Harmonie and
Euphonium Solo - Grade 4
SKU:
BT.AMP-449-010
For
Euphonium and Band.
Composed by Philip
Sparke. Anglo Music
Midway Series. Solo &
Concerto. Set (Score &
Parts). Composed 2017.
Anglo Music Press #AMP
449-010. Published by
Anglo Music Press
(BT.AMP-449-010).
English-German-French-
Dutch.
The
Legend of Spirit
Island was
commissioned by the Twin
Ports Wind Orchestra,
Duluth, Minnesota (Mark
Whitlock, conductor), to
honour the euphonium
player, Dick Carlson. The
piece takes its title
from a local legend about
Spirit Island, which lies
in a gap of the St. Louis
River called Spirit Lake.
The legend tells the
story of Chaska, the son
of a Dakota Chief, and
Wetona, the daughter of
Ojibwe Chief Buckado. He
was handsome and she was
beautiful; it
wasn’t long before
they fell in love. This
is a challenging
euphonium solo in which
the versatile soloist can
explore very expressive
melodic sequences, as
well as energetic,
technical
sections.
The
Legend of Spirit
Island werd
geschreven in opdracht
van de het Twin Ports
Wind Orchestra uit
Duluth, Minnesota
(dirigent Mark Whitlock)
als eerbetoon aan
euphoniumspeler Dick
Carlson. De titel van het
werk is afkomstig van een
lokale legende over
Spirit Island, dat dicht
bij Duluth in een
verbreding van de St.
Louis River Spirit Lake
¬ligt. Deze legende
gaat over Chaska, de zoon
van een
Dakota-opperhoofd, en
Wetona, de dochter van
Ojibwe-opperhoofd
Buckado. Hij was knap en
zij was mooi; het duurde
niet lang of de twee
waren verliefd op elkaar.
De uitdagende
euphoniumsolo biedt de
solist de mogelijkheid om
expressieve melodieën
te verkennen en zijn of
haarspeelvaardigheid te
demonstreren.
The Legend of
Spirit Island wurde
vom Twin Ports Wind
Orchestra aus Duluth,
Minnesota (Dirigent: Mark
Whitlock), in Auftrag
gegeben, um den
Euphoniumspieler Dick
Carlson zu ehren. Der
Titel des Stückes
leitet sich von einer
Legende über die Insel
Spirit Island ab, die in
einem Bereich des St.
Louis River liegt, der
Spirit Lake genannt wird.
Die Legende handelt von
Chaska, dem Sohn eines
Dakota-Häuptlings, und
Wetona, der Tochter des
Ojibwe-Häuptlings
Buckado. Er war gut
aussehend und sie war
schön, und so dauerte
es nicht lange, bis sie
sich ineinander
verliebten. In diesem
anspruchsvollen Stück
kann der Euphonium-Solist
sehr ausdrucksvolle
melodische Sequenzen,
aber auchenergiegeladene,
technische Abschnitte
erkunden.
The Legend of
Spirit Island è
stata commissionata dalla
Twin Ports Wind
Orchestra, Duluth,
Minnesota (Mark Whitlock,
direttore), per onorare
il suonatore di eufonio
Dick Carlson. Il titolo
si ispira da una leggenda
locale sullo spirito
dell’isola, che si
troverebbe in un punto
del fiume St.Louis
chiamato Spirit Lake. La
leggenda racconta la
storia di Chaska, il
figlio di Dakota Chief, e
Wetona,la figlia di
Ojibwe Chief Buckado. Lui
era bello e lei era
bellissima; non passò
molto tempo prima che si
innamorassero. Un brano
per eufonio solista molto
impegnativo nel quale un
solista con versatilit
può esplorare sequenze
melodiche molto
espressive, oltre a
sezioni
tecnicheenergiche.
Salute to Louis Armstrong Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
Performed by Louis Armstrong. Arranged by Eric Osterling. Discovery Concert Band...(+)
Performed by Louis
Armstrong. Arranged by
Eric Osterling. Discovery
Concert Band Plus. Grade
2. Score and full set of
parts. Size 9x12 inches.
Published by Hal Leonard.
Composed by Hoagy
Carmichael, J. Goodwin,
L. Shay, and M. Fisher.
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Original Light
Music. Score Only.
Composed 2013. 28 pages.
Music Sales #1942-12-140
MS. Published by Music
Sales
(BT.1942-12-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Even 40 years
after his death, Louis
Armstrong remains one of
the most popular jazz
trumpeters and singers of
all time. In Louis
Armstrong Medley, Naohiro
Iwai has beautifully
arranged
Armstrong’s
unmistakable version of
the Russian folk song,
Dark Eyes (1954).
This is then followed by
two of his greatest hits:
the jazz standard,
Georgia on My Mind
(1930), which
features a tenor
saxophone solo, and
When You’re
Smiling (1929).
Veertig jaar na
zijn dood is Louis
Armstrong nog steeds de
bekendste jazztrompettist
en -zanger ooit. Voor
deze medley gebruikte
Naohiro Iwai Dark
Eyes, een van
oorsprong Russisch
volksliedje waaraan
Armstrong in 1954
zijngeheel eigen
touchgaf. Daarna volgen
twee van zijn grootste
hits uit jongere jaren:
de jazzstandaard
Georgia on My Mind
uit 1930, die hier
een solo voor de
tenorsaxofoon bevat,
en When You’re
Smiling uit
1929.
Louis
Armstrong ist auch 40
Jahre nach seinem Tod
einer der bekanntesten
Jazztrompeter und
-sänger. Naohiro Iwai
verwendete in seinem
Medley Dark Eyes
, ein
ursprünglich
russisches Volkslied, das
Armstrong sich 1954 mit
einer unverwechselbaren
Version zu eigen machte.
Danach folgen mit dem
Jazzstandard Georgia
on My Mind von 1930,
der hier ein
Tenorsaxophonsolo
enthält, und When
You’re Smiling
von 1929 zwei seiner
größten Hits aus
jüngeren
Jahren.
Louis
Armstrong è uno dei
più famosi
trombettisti jazz del
mondo. Naohiro Iwai ha
raccolto nel suo medley
alcuni grandi successi di
questo artista unico nel
suo genere. La canzone
Ochi Chernye
appartiene al patrimonio
della musica folk russa.
Nel 1954, questa
canzone diviene uno
standard del jazz grazie
a Louis Armstrong. La
splendida Georgia on
My Mind, con un caldo
assolo di sax tenore fa
anch’essa parte di
questo medley, così
come When
You’re
Smiling.
Composed by Hoagy
Carmichael, J. Goodwin,
L. Shay, and M. Fisher.
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Original Light
Music. Set (Score &
Parts). Composed 2013.
Music Sales #1942-12-010
MS. Published by Music
Sales
(BT.1942-12-010-MS).
9x12 inches.
English-German-French-Dut
ch.
Even 40 years
after his death, Louis
Armstrong remains one of
the most popular jazz
trumpeters and singers of
all time. In Louis
Armstrong Medley, Naohiro
Iwai has beautifully
arranged
Armstrong’s
unmistakable version of
the Russian folk song,
Dark Eyes (1954).
This is then followed by
two of his greatest hits:
the jazz standard,
Georgia on My Mind
(1930), which
features a tenor
saxophone solo, and
When You’re
Smiling (1929).
Veertig jaar na
zijn dood is Louis
Armstrong nog steeds de
bekendste jazztrompettist
en -zanger ooit. Voor
deze medley gebruikte
Naohiro Iwai Dark
Eyes, een van
oorsprong Russisch
volksliedje waaraan
Armstrong in 1954
zijngeheel eigen
touchgaf. Daarna volgen
twee van zijn grootste
hits uit jongere jaren:
de jazzstandaard
Georgia on My Mind
uit 1930, die hier
een solo voor de
tenorsaxofoon bevat,
en When You’re
Smiling uit
1929.
Louis
Armstrong ist auch 40
Jahre nach seinem Tod
einer der bekanntesten
Jazztrompeter und
-sänger. Naohiro Iwai
verwendete in seinem
Medley Dark Eyes
, ein
ursprünglich
russisches Volkslied, das
Armstrong sich 1954 mit
einer unverwechselbaren
Version zu eigen machte.
Danach folgen mit dem
Jazzstandard Georgia
on My Mind von 1930,
der hier ein
Tenorsaxophonsolo
enthält, und When
You’re Smiling
von 1929 zwei seiner
größten Hits aus
jüngeren
Jahren.
Louis
Armstrong è uno dei
più famosi
trombettisti jazz del
mondo. Naohiro Iwai ha
raccolto nel suo medley
alcuni grandi successi di
questo artista unico nel
suo genere. La canzone
Ochi Chernye
appartiene al patrimonio
della musica folk russa.
Nel 1954, questa
canzone diviene uno
standard del jazz grazie
a Louis Armstrong. La
splendida Georgia on
My Mind, con un caldo
assolo di sax tenore fa
anch’essa parte di
questo medley, così
come When
You’re
Smiling.
A Tribute to Gershwin Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094651-140 Composed by Georg...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094651-140
Composed by George
Gershwin. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music.
Score Only. Composed
2009. 36 pages. De Haske
Publications #DHP
1094651-140. Published by
De Haske Publications
(BT.DHP-1094651-140).
9x12 inches.
English-German-French-Dut
ch.
Naohiro Iwai,
the master of
entertaining concert band
arrangements, has
selected four songs from
the wide repertoire of
George Gershwin for this
wonderful medley. A
fitting tribute to one of
the all time jazz
masters.
De
componist Naohiro Iwai
gebruikte vier hitsongs
van Georg Gershwinvoor
deze prachtige medley:
Swanee, Gershwins
eerste grote hit uit
1924, Oh, Lady Be
Good - onvergetelijk
in de uitvoering van Ella
Fitzgerald -
evenalsSomeone to
Watch Over Me en
S’
Wonderful.
Nao
hiro Iwai, der Meister
der unterhaltsamen
Blasorchesterarrangements
wählte vier Songs von
George Gershwin für
dieses wundervolle
Medley: Swanee,
Gershwins ersten
großen Hit von 1924,
Oh, Lady Be Good -
unvergessen in Ella
Fitzgeralds
Interpretation - sowie
Someone to Watch Over
Me und S’
Wonderful, die beide
ins Great American
Songbook aufgenommen
wurden.
George Gerswhin
(1898-1937) iniziò la
sua carriera di musicista
nelle music-hall prima di
essere ammesso nella
sfera
“classicaâ€
grazie al successo di
Rhapsody in Blue
del 1924. Naohiro Iwai
raccoglie quattro canzoni
di questo indimenticabile
pianista jazz in un
medley che incanter il
pubblico.
A Tribute to Gershwin Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094651-010 Composed by Georg...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094651-010
Composed by George
Gershwin. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music. Set
(Score & Parts). Composed
2009. De Haske
Publications #DHP
1094651-010. Published by
De Haske Publications
(BT.DHP-1094651-010).
9x12 inches.
English-German-French-Dut
ch.
Naohiro Iwai,
the master of
entertaining concert band
arrangements, has
selected four songs from
the wide repertoire of
George Gershwin for this
wonderful medley. A
fitting tribute to one of
the all time jazz
masters.
De
componist Naohiro Iwai
gebruikte vier hitsongs
van Georg Gershwinvoor
deze prachtige medley:
Swanee, Gershwins
eerste grote hit uit
1924, Oh, Lady Be
Good - onvergetelijk
in de uitvoering van Ella
Fitzgerald -
evenalsSomeone to
Watch Over Me en
S’
Wonderful.
Nao
hiro Iwai, der Meister
der unterhaltsamen
Blasorchesterarrangements
wählte vier Songs von
George Gershwin für
dieses wundervolle
Medley: Swanee,
Gershwins ersten
großen Hit von 1924,
Oh, Lady Be Good -
unvergessen in Ella
Fitzgeralds
Interpretation - sowie
Someone to Watch Over
Me und S’
Wonderful, die beide
ins Great American
Songbook aufgenommen
wurden.
George Gerswhin
(1898-1937) iniziò la
sua carriera di musicista
nelle music-hall prima di
essere ammesso nella
sfera
“classicaâ€
grazie al successo di
Rhapsody in Blue
del 1924. Naohiro Iwai
raccoglie quattro canzoni
di questo indimenticabile
pianista jazz in un
medley che incanter il
pubblico.
Feelings is a
well-known easy listening
hit that was written
halfway through the
1970s, by the Brazilian
singer-songwriter Morris
Albert. However, the
melody is derived from a
French song (Pour toi)
from 1957, written by
Louis Gaste, who made
this claim successfully.
Over the years, Feelings
has been performed by
famous artists like Ella
Fitzgerald, Frank Sinatra
and Elvis Presley.
Numerous arrangements
have been made for
various instrumentations.
This arrangement by
Roland Kernen does
justice to the
original.
Feeli
ngs is een bekende
easy-listeninghit van
halverwege de jaren
zeventig. Het nummer werd
geschreven door de
Braziliaanse
singer-songwriter Morris
Albert. De
oorspronkelijke melodie
is echter afkomstig van
een Frans lied(Pour
toi) uit 1957, van de
hand van Louis Gaste, die
dit met succes claimde.
In de loop der jaren is
Feelings
uitgevoerd door beroemde
artiesten als Ella
Fitzgerald, Frank Sinatra
en Elvis Presley. Ook
zijn er
talrijkearrangementen
gemaakt voor diverse
bezettingen. Dit
arrangement van Roland
Kernen doet recht aan het
origineel.
Der
gefühlvolle Song
Feelings machte
Morris Albert, einen
gebürtigen
Brasilianer, im Jahre
1975 über Nacht zum
Weltstar. In den
folgenden Jahren sangen
sich auch berühmte
Künstler, wie Ella
Fitzgerald, Nina Simone,
Sarah Vaughan und Johnny
Mathis mit dem
romantischen Liebeslied
in die Hitparaden. Mit
der stimmungsvollen
Blasorchesterbearbeitung
von Roland Kernen bringen
Sie jedes Publikum zum
Schmelzen!
A New Beginning Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1165727-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1165727-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2016.
De Haske Publications
#DHP 1165727-010.
Published by De Haske
Publications
(BT.DHP-1165727-010).
English-German-French-
Dutch.
A New
Beginning begins with
a beautiful and sensitive
chorale shaping the
musical ideas. This
chorale builds up to a
fast and rhythmical
setting, creating a vivid
and spectacular feel,
with lots of percussion.
The instrumentation is
versatile and colourful,
which makes the piece
very pleasant to play and
work on for each
instrumental group within
the band. The music slows
down again in the
finale, but in a
maestoso style.
This leads onto a
dramatic and impressive
ending!
Dit werk
van Satoshi Yagisawa
begint met een prachtig,
gevoelig koraal dat de
mogelijkheid biedt om
muzikale ideeën vorm
te geven. Het koraal
mondt uit in een snel,
ritmisch gedeelte dat
levendig en spectaculair
klinkt, met veel
slagwerk. De
instrumentatie is
veelzijdig en kleurrijk,
waardoor het werk leuk is
om te spelen en te
repeteren voor elke
sectie in het orkest. De
langzame finale, in een
maestoso stijl, eindigt
in een luisterrijk en
indrukwekkend
slot!
Dieses Werk
von Satoshi Yagisawa
beginnt mit einem
wunderschönen,
einfühlsamen Choral,
der viel Raum für
musikalische
Ausdrucksmöglichkeiten
bietet. Der Choral baut
sich zu einem schnellen
und rhythmischen Satz
auf, der sehr lebhaft und
spektakulär ist. Die
Instrumentierung ist
vielseitig und lebendig,
sodass es Spaß macht,
das Stück zu spielen
und mit jeder
Instrumentengruppe daran
zu arbeiten. Das Finale
ist wieder langsam, aber
maestoso, und führt zu
einem gewaltigen und
beeindruckenden
Schluss!
14 Best-Selling Pieces from the Band Series - full score. Composed by W. C. Hand...(+)
14 Best-Selling Pieces
from the Band Series -
full score. Composed by
W. C. Handy; Eric
Osterling; Jacques
Offenbach; Gioacchino
Rossini; Irving Berlin;
Peter J. Wilhousky; Henry
Fillmore; Peter Ilyich
Tchaikovsky; Anonymous.
Edited by Andrew Balent.
Arranged by Mitchell S.
Bender; James Swearingen;
Lloyd Conley; Gerald
Sebesky; Andrew Balent.
Concert Band Method. Full
score (study). With
Standard notation. 196
pages. Carl Fischer
#O005320. Published by
Carl Fischer
Whispering Wind Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-140 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-140
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Score
Only. Composed 2005. 28
pages. De Haske
Publications #DHP
1053880-140. Published by
De Haske Publications
(BT.DHP-1053880-140).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Whispering Wind Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-010 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-010
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053880-010.
Published by De Haske
Publications
(BT.DHP-1053880-010).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Salute To American Jazz Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
Arranged by Sammy Nestico. Score and full set of parts. Hal Leonard Concert Band...(+)
Arranged by Sammy
Nestico. Score and full
set of parts. Hal Leonard
Concert Band Series.
Grade 4. Book only. Size
9x12 inches. Published by
Hal Leonard.
Whispering Wind Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1053880-040 Composed by Maxime Aulio. ...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1053880-040
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053880-040.
Published by De Haske
Publications
(BT.DHP-1053880-040).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
Emperor Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094670-140 Composed by Thier...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094670-140
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2009. 44
pages. De Haske
Publications #DHP
1094670-140. Published by
De Haske Publications
(BT.DHP-1094670-140).
9x12 inches.
English-German-French-Dut
ch.
With
Emperor, French
composer Thierry
Deleruyelle wanted to
create a descriptive
musical work depicting
the life of Napoleon
Bonaparte. The first
movement represents the
idiosyncrasies of this
famous personality as
well as his dramatic mood
swings. The second
movement is dedicated to
his great love, Josephine
Beauharnais. A
contrasting third
movement depicts Napoleon
the fearless general and
the countless battles he
waged. A truly powerful
work about one of
histories truly powerful
men.
Mit
Emperor schuf der
französische Komponist
Thierry Deleruyelle ein
deskriptives Werk nach
dem Leben von Napoleon
Bonaparte. Der erste Satz
hebt die Charakterzüge
des Kaisers von
Frankreich hervor, wozu
Heldenmut und Brillanz
ebenso wie Schwermut
gehören. Der zweite
Satz ist seiner großen
Liebe Josephine
Beauharnais gewidmet und
im Kontrast dazu der
dritte Satz dem Feldherrn
Napoleon und seinen
zahlreichen Schlachten.
Ein schillerndes Werk
über eine große
historische
Figur!
Con
Emperor, Thierry
Deleruyelle firma un
affresco musicale
dedicato a Napoleone.
Seguiamo il destino
militare e personale di
Bonaparte. Il primo
affresco,
“l’Aigle<
/I>â€, illustra due
aspetti del carattere
dell’Imperatore:
eroico quando conduce le
sue truppe alla vittoria,
malinconico nella
tormenta della storia. Il
secondo movimento è
dedicato a Josephine di
Beauharnais, la grande e
unica passione di
Napoleone. Il movimento
finale - Da Austerlitz
a Waterloo - è un
racconto delle battaglie,
delle grandi vittorie e
della caduta
definitiva.
Emperor Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094670-010 Composed by Thier...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094670-010
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094670-010.
Published by De Haske
Publications
(BT.DHP-1094670-010).
9x12 inches.
English-German-French-Dut
ch.
With
Emperor, French
composer Thierry
Deleruyelle wanted to
create a descriptive
musical work depicting
the life of Napoleon
Bonaparte. The first
movement represents the
idiosyncrasies of this
famous personality as
well as his dramatic mood
swings. The second
movement is dedicated to
his great love, Josephine
Beauharnais. A
contrasting third
movement depicts Napoleon
the fearless general and
the countless battles he
waged. A truly powerful
work about one of
histories truly powerful
men.
Mit
Emperor schuf der
französische Komponist
Thierry Deleruyelle ein
deskriptives Werk nach
dem Leben von Napoleon
Bonaparte. Der erste Satz
hebt die Charakterzüge
des Kaisers von
Frankreich hervor, wozu
Heldenmut und Brillanz
ebenso wie Schwermut
gehören. Der zweite
Satz ist seiner großen
Liebe Josephine
Beauharnais gewidmet und
im Kontrast dazu der
dritte Satz dem Feldherrn
Napoleon und seinen
zahlreichen Schlachten.
Ein schillerndes Werk
über eine große
historische
Figur!
Con
Emperor, Thierry
Deleruyelle firma un
affresco musicale
dedicato a Napoleone.
Seguiamo il destino
militare e personale di
Bonaparte. Il primo
affresco,
“l’Aigle<
/I>â€, illustra due
aspetti del carattere
dell’Imperatore:
eroico quando conduce le
sue truppe alla vittoria,
malinconico nella
tormenta della storia. Il
secondo movimento è
dedicato a Josephine di
Beauharnais, la grande e
unica passione di
Napoleone. Il movimento
finale - Da Austerlitz
a Waterloo - è un
racconto delle battaglie,
delle grandi vittorie e
della caduta
definitiva.
Composed by Louis Lefebure- Wely. Arranged by Feike van Tuinen. For concert b...(+)
Composed by Louis
Lefebure-
Wely. Arranged by Feike
van
Tuinen. For concert band.
Arrangements of Classical
Compositions/Catalogue
New
Band Music Vol. 10.
Classic
Arrangement. Recorded on
Pegasus (ML.311104720).
Grade 4. Full set.
Duration
3 minutes, 50 seconds.
Published by Molenaar
Edition
Arden Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By John Edmunds. By John Edmunds. For Concert Band. Concert Band. Alfred Concert...(+)
By John Edmunds. By John
Edmunds. For Concert
Band. Concert Band.
Alfred Concert Band.
Level: Grade 4. Conductor
Score & Parts. Duration
6:30:00. Published by
Alfred Publishing.
Versailles Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1043670-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1043670-015
Composed by Christian
Bouthier. Flexible 4
Series. Concert Piece.
Set (Score & Parts).
Composed 2004. De Haske
Publications #DHP
1043670-015. Published by
De Haske Publications
(BT.DHP-1043670-015).
Versailles,
composed by Christian
Bouthier, reflectsa
number of impressions of
the royal castle
inVersailles, near Paris.
There are four
movementsconsisting of Le
Chateau, Le grand
Trianon,L’Appartem
ent du Roi and Les
Grandes Eaux eachof which
depicts a different
aspect of Versaillesboth
inside and outside. Bring
a touch of regalnessto
any concert band
programme.
Versailles
, gecomponeerd door
Christian Bouthier, geeft
een aantal indrukken weer
van het koninklijke
kasteel te Versailles,
vlak bij Parijs. De vier
afwisselende delen
beschrijven
achtereenvolgens Le ch
teau (het
kasteelzelf), Le grand
Trianon (het extra
complex dat Lodewijk XIV
liet bouwen),
L’Appartement
du Roi (het
appartement van de
koning) en Les Grandes
Eaux (de
waterpartijen). De fraaie
thema’s worden
verklankt inboeiende,
gemakkelijk te spelen
muziek voor
blaasorkest.
Ve
rsailles, aus der
Feder von Christian
Bouthier, spiegelt eine
Reihe von Impressionen
des königlichen
Schlosses in Versailles
bei Paris wider. Die vier
abwechslungsreichen
Sätze beschreiben das
Schloss selbst, den
Nebenpalast Le Grand
Trianon, die Gemächer
des Königs und das
weitläufige System an
Wasserläufen und
Teichen, welches die
ganze Anlage einst
versorgte. Prächtige
Motive, verpackt in
interessante, leicht
spielbare Musik.
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1043545-010 From the opera...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1043545-010
From the opera Rinaldo
van Georg Friedrich
Händel. Composed
by George Frideric
Handel. Arranged by Jacob
De Haan. Your Favorite
Classics. Set (Score &
Parts). Composed 2004. De
Haske Publications #DHP
1043545-010. Published by
De Haske Publications
(BT.DHP-1043545-010).
Film music is
usually written to match
the action in a scenario.
Sometimes the opposite is
true as is proved by
Jacob de Haan’s
piece La Storia. Written
for creative musicians
and audiences, the
listener is given the
opportunity of making up
his own story to fit the
music, without even the
restriction of
composer’s
comments.
Lascia
ch’io pianga (Let
Me Weep) is een aria
uit de opera
Rinaldo. Aaron
Hill schreef het
scenario, waarna Giacomo
Rossi de poëtische
teksten schreef. Georg
Friedrich Händel
voorzag deze later van
muziek. Hij zou demuziek
in veertien dagen hebben
gecomponeerd en veel
melodieën uit eerdere
werken hebben gebruikt.
In 1711 werd
Rinaldo voor het
eerst uitgevoerd. De
melodie van deze
prachtige aria is
wereldwijd bekend en komt
uitstekendtot haar recht
in dit arrangement van
Jacob de
Haan.
Let Me
Weep - im Original
Laschia ch'io
pianga - stammt aus
der Oper Rinaldo,
deren Musik Georg
Friedrich Händel
angeblich in weniger als
vierzehn Tagen
geschrieben hat! Er
verwendete für diese
märchenhafte Oper
viele Melodien aus
älteren Werken. Die
Melodie dieser
prächtigen Arie ist
weltweit bekannt und
beliebt - so ist mit
Jacob de Haans
hervorragender
Bearbeitung für
Blasorchester ein
Publikumserfolg
garantiert!