Prince of Denmark's March Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Anglo Music
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-010 (The Trumpet Vol...(+)
Concert Band/Harmonie -
Grade 1.5
SKU:
BT.AMP-027-010
(The Trumpet
Voluntary). Composed
by Jeremiah Clarke.
Arranged by Philip
Sparke. Debut Series
(Anglo). Set (Score &
Parts). Composed 2001.
Anglo Music Press #AMP
027-010. Published by
Anglo Music Press
(BT.AMP-027-010).
Jeremiah Clarke
(c. 1674-1707) belongs to
the generation of English
composers following that
of Henry Purcell. Not
much is known about his
early life, but by 1685
he was a chorister of the
Chapel Royal, a group of
liturgical musicians
attached to the court. He
held the post of organist
at Winchester College
from 1692 but later
returned to London as
Master of the Choristers
at St Paul’s
Cathedral. The Prince of
Denmark’s March is
perhaps his best-known
work and was originally
written for harpsichord,
although Clarke later
included it in a
collection of pieces for
wind
instruments.
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-027-140 (The Trumpet Vol...(+)
Concert Band/Harmonie -
Grade 1.5
SKU:
BT.AMP-027-140
(The Trumpet
Voluntary). Composed
by Jeremiah Clarke.
Arranged by Philip
Sparke. Debut Series
(Anglo). Score Only.
Composed 2001. 20 pages.
Anglo Music Press #AMP
027-140. Published by
Anglo Music Press
(BT.AMP-027-140).
Jeremiah Clarke
(c. 1674-1707) belongs to
the generation of English
composers following that
of Henry Purcell. Not
much is known about his
early life, but by 1685
he was a chorister of the
Chapel Royal, a group of
liturgical musicians
attached to the court. He
held the post of organist
at Winchester College
from 1692 but later
returned to London as
Master of the Choristers
at St Paul’s
Cathedral. The Prince of
Denmark’s March is
perhaps his best-known
work and was originally
written for harpsichord,
although Clarke later
included it in a
collection of pieces for
wind
instruments.
Composed by
John Ireland. Band Music.
Score and parts. Duration
10:00. Published by G & M
Brand Music Publishers
(CN.R10011).
Cast your self
into a storm at sea with
this fantastic piece from
John Ireland. Turbulent
rhythmic motives launch
the work to blend into a
more lyrical melody
contrasting the opening.
Don't be fooled though;
the first rhythmic motive
provides the underlay, a
reminder that the calm
surface of the sea is
only masking the swirling
water
underneath!
A
Maritime Overture was
written in 1944 and
published in 1946. This
edition was published in
1988. The score was
prepared from the
composer's full draft by
Norman Richardson, and
uses the same material as
Tritons - a Symphonic
Prelude for orchestra
dating from the early
1900s. The development of
the material however is
different in each piece.
The work is conceived in
F major - but it is 24
bars before Ireland
establishes this
tonality. Fortissimo
chords of B-flat major
open the work, and the
Overture hovers between G
minor and B-flat as a
restless rhythmic motif
is introduced. As soon as
F major is finally
established it is
contradicted as the music
fragments, but the key is
allowed a further 4 bars
to consolidate before
more lyrical interplay
leads to a second idea,
introduced by flutes and
oboes in C major. Marked
'espressivo e ben
cantando' this is a
complete contrast to the
opening, although the
first rhythmic motif
provides the underlay - a
reminder after the
opening storms that the
calm surface of the sea
is only masking the
swirling water
underneath. A Maritime
Overture has a freer
approach to form than say
the first movement of a
symphony might allow,
enabling Ireland to
introduce a totally new
central section marked
'poco meno mosso' in F
minor. A bold cornet (not
trumpet) heralds this new
idea, in a passage marked
'with freedom' and
perhaps for the only time
there is a true
tranquility in the
sextuplet accompaniment.
Thus the restlessness is
suspended, but not for
long, as the opening
storm returns and a
recapitulation allows the
F major theme and the
second theme - this time
in the sub-dominant
(B-flat) - to reassert
themselves.
Cleopatra Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-140 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-140
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2021. 39 pages.
De Haske Publications
#DHP 1216342-140.
Published by De Haske
Publications
(BT.DHP-1216342-140).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
Cleopatra Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-010 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-010
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216342-010. Published by
De Haske Publications
(BT.DHP-1216342-010).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score and parts.
Duration 3:00. Published
by G & M Brand Music
Publishers (CN.R10230).
Music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life.
In a letter
addressed to My dear
Liszt, dated May 1852,
Richard Wagner writes: It
was you who awakened the
mute lines of this score
to bright surrounding
life. He was referring to
a performance of his
opera Lohengrin which
Franz Liszt conducted at
the Weirner Court Theatre
on August 28, 1850. The
letter was sent from
Zurich, since Wagner was
exiled from Germany at
this time. He had
completed his romantic
opera, Lohengrin, some
five years earlier but
doubted whether he would
ever hear it performed.
The action takes place in
Antwerp in the first half
of the 10th century. Elsa
and Lohengrin are to be
married and the 3rd Act
opens as they proceed in
great splendour,
accompanied by their
respective noblewomen and
noblemen, to the
cathedral. As a Prelude
to the curtain rising
Wagner unleashed music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In the opera
this magnificent Prelude
leads directly into the
Bridal Scene as Elsa and
Lohengrin make their way
solemnly to the betrothal
ceremony. Wagner achieves
this change of mood and
atmosphere most
skillfully. In arranging
the Prelude for concert
performance the challenge
was to provide an ending
which provides a
satisfactory climax to
Wagner's blaze of
instrumental colour,
without proceeding to the
solemn betrothal music.
This was resolved by
using the composer's own
mighty flourish to end
Act I of his opera. Now,
the gauntlet is thrown
down to all who perform
it to - in Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life..
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 3:00. Published
by G & M Brand Music
Publishers (CN.S11230).
Music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life.
In a letter
addressed to My dear
Liszt, dated May 1852,
Richard Wagner writes: It
was you who awakened the
mute lines of this score
to bright surrounding
life. He was referring to
a performance of his
opera Lohengrin which
Franz Liszt conducted at
the Weirner Court Theatre
on August 28, 1850. The
letter was sent from
Zurich, since Wagner was
exiled from Germany at
this time. He had
completed his romantic
opera, Lohengrin, some
five years earlier but
doubted whether he would
ever hear it performed.
The action takes place in
Antwerp in the first half
of the 10th century. Elsa
and Lohengrin are to be
married and the 3rd Act
opens as they proceed in
great splendour,
accompanied by their
respective noblewomen and
noblemen, to the
cathedral. As a Prelude
to the curtain rising
Wagner unleashed music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In the opera
this magnificent Prelude
leads directly into the
Bridal Scene as Elsa and
Lohengrin make their way
solemnly to the betrothal
ceremony. Wagner achieves
this change of mood and
atmosphere most
skillfully. In arranging
the Prelude for concert
performance the challenge
was to provide an ending
which provides a
satisfactory climax to
Wagner's blaze of
instrumental colour,
without proceeding to the
solemn betrothal music.
This was resolved by
using the composer's own
mighty flourish to end
Act I of his opera. Now,
the gauntlet is thrown
down to all who perform
it to - in Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life..
Composed by Geoffrey
Brand. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.S11267).
This
arrangement of the entire
March from A Moorside
Suite brings this
refreshing music to
concert bands of all
levels. It should be
played with full
appreciation of its
splendid sense of purpose
and direction, from the
bold fanfare-like
opening, based on a pair
uplifting leaps of the
interval of a fourth, in
which every instrument
takes part, right through
to the exaltant flourish
in the final bars marked
Allegro vivace. Truly, a
March to lift the
spirits!
Gustav
Holst (1874-1934) can
claim a distinction
shared with a relatively
small number of composers
in that his music is more
performed now than it was
during his lifetime. A
Moorside Suite, Holst's
only work for brass band,
is in three movements,
Scherzo; Nocturne; March;
and was written as the
set work for the National
Brass Band Championships
of Great Britain in 1928.
It has become recognized
as one of the truly great
original works for brass
band. This arrangement of
the entire March brings
this refreshing music to
concert bands of all
levels. It should be
played with full
appreciation of its
splendid sense of purpose
and direction, from the
bold fanfare-like
opening, based on a pair
uplifting leaps of the
interval of a fourth, in
which every instrument
takes part, right through
to the exaltant flourish
in the final bars marked
Allegro vivace. Truly, a
March to lift the
spirits!
Concert band (Piccolo,
Flute 1, Flute 2, Oboe,
Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Bb Bass Clarinet,
Bassoon, Contrabassoon,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombo) - grade 5
SKU: CN.S11275
Composed by Peter
Meechan. Band Music.
Score only. Duration
4:30. Published by G & M
Brand Music Publishers
(CN.S11275).
On
your mark...get
set...GO!!! British
sprinter Linford Christie
used to say that he
started his races not
merely at the 'band' of
the starting pistol, but
at the B of the Band.
Capture the spirit of a
fast-paced road race in
this challenging work by
Peter
Meechan.
Bang 2
has two closely related
reference points for its
title. A quotation from
the legendary British
Sprinter, Linford
Christie, was the initial
starting point for the
piece. Christie used to
say that he started his
races not merely at the
'bang' of the starting
pistol, but at the B of
the Bang. 'B of the Bang'
is also the name of a
prominent sculpture
(again named after the
Christie quote) in the
composer's home city,
Manchester, England.
Designed by Thomas
Heatherwick, it is the
tallest self-supporting
sculpture in the United
Kingdom and was
constructed close to the
City of Manchester
Stadium in order to
commemorate the success
of the 2002 Commonwealth
Games.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 5:25. Published
by G & M Brand Music
Publishers (CN.S11251).
Originally
written for piano, Grieg
later scored his Holberg
Suite for orchestra.
Geoffrey Brand has done a
masterful job of setting
two movements of the
suite - the Sarabande and
Gavotte - for wind band.
Give your students the
opportunity to perform
first-rate classical
music they wouldn't
otherwise have access
to.
Born in
Bergen, Norway, into a
family of Scottish
descent, Edvard Grieg
showed a talent for music
early and at the age of
10 had piano lessons from
his mother. In 1849 he
went to study at Leipzig
Conservatoire before
moving to Copenhagen
where he met Riokaard
Nordaak, a young
Norwegian composer who
was immersed in Norwegian
nationalism and greatly
influence Grieg who felt
his future was as a
musician dedicated to
romantic nationalism.
Holberg Suite, originally
for piano, was written in
1884 in response to a
commission to mark the
bicentenary of the birth
of Ludvig Holberg, a
Norwegian dramatist and
satirist. A year later,
Grieg arranged 5
movements for string
orchestra. Sarabande and
Gavotte are intended to
be played segue but can,
if desired, be performed
separately. The music
expresses Grieg and his
native Norway in a manner
which justifies his
declaration I am not an
exponent of Scandinavian
music but of
Norwegian..
Concert band (Piccolo,
Flute 1, Flute 2, Oboe,
Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Bb Bass Clarinet,
Bassoon, Contrabassoon,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombo) - grade 5
SKU: CN.R10275
Composed by Peter
Meechan. Band Music.
Score and parts. Duration
4:30. Published by G & M
Brand Music Publishers
(CN.R10275).
On
your mark...get
set...GO!!! British
sprinter Linford Christie
used to say that he
started his races not
merely at the 'band' of
the starting pistol, but
at the B of the Band.
Capture the spirit of a
fast-paced road race in
this challenging work by
Peter
Meechan.
Bang 2
has two closely related
reference points for its
title. A quotation from
the legendary British
Sprinter, Linford
Christie, was the initial
starting point for the
piece. Christie used to
say that he started his
races not merely at the
'bang' of the starting
pistol, but at the B of
the Bang. 'B of the Bang'
is also the name of a
prominent sculpture
(again named after the
Christie quote) in the
composer's home city,
Manchester, England.
Designed by Thomas
Heatherwick, it is the
tallest self-supporting
sculpture in the United
Kingdom and was
constructed close to the
City of Manchester
Stadium in order to
commemorate the success
of the 2002 Commonwealth
Games.
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.
Concert band (Flute 1,
Flute 2, Oboe*, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet*, Bassoon*, Alto
Saxophone 1/2*, Tenor
Saxophone*, Baritone
Saxophone*, Horn in F 1,
Horn in F 2, Bb Trumpet
1, Bb Trumpet 2, Trombone
1, Trombone 2*,
Euphonium, (Barit) -
grade 3
SKU:
CN.R10109
Composed by
Stuart Johnson. Arranged
by Stuart Johnson. Band
Music. Score and parts.
Duration 4:00. Published
by G & M Brand Music
Publishers (CN.R10109).
Marked by
driving staccato eighth
note ostinatos that are
freely passed around the
ensemble, Toccata keeps
you on your toes from
start to
finish.
Commission
ed by the Tutbury
Community Band, conductor
Malcolm Heywood, this
work was first performed
on the occasion of the
900th anniversary of the
foundation of Tutbury
Church. Toccata
originally meant 'touch
piece' and is
particularly associated
with keyboard works of
the Renaissance and
Baroque. Stuart Johnson
takes this spirit and
transfers it to the
concert band as staccato
quavers, used as an
ostinato against a rising
bass theme. Later the
accompaniment is
transferred to other
sections of the band, but
the pulse is retained
until a central, more
lyrical section. A
recapitulation of the
allegro leads to a
stirring climax.
Composed by
Gordon Jacob. Band Music.
Score only. Duration
15:30. Published by G & M
Brand Music Publishers
(CN.S11158).
A
powerful work. An opening
fanfare leads directly to
an Allegro risoluto,
which exudes
determination and
forthrightness. The
second movement follows
without a break and is a
continuous plaint in
which the melody seems
forever seeking
resolution like a
troubled soul searching
for respite. Only in the
closing bars does peace
seem to take over. The
final movement, marked
Allegro non troppo,
starts with a cheering
fanfare that leads to a
bright and breezy romp,
with a rustic feel about
it. When the fanfare
reappears we are suddenly
immersed in exaltations
of joy that really give a
feeling of optimism as we
proceed to the end of the
piece via a short
Coda.
With this
Symphony, Gordon Jacob
proclaims his absolute
mastery of idiom and
instrumentation with a
triumphant rejoicing.
Written in 1978 as a
commission from Arthur
Doyle (hence the AD in
the title, a typical
piece of Jacob wit), it
lay virtually unplayed
save for the efforts of
his Estate, Troy Peterson
and Geoffrey Brand and
CBDNA (College Band
Directors Association,
USA), who between them
ensured that it was
professionally recorded
in 1994 and published in
1995. There is little
point in indulging in
semantics as to whether
the piece is a Symphony.
It is Jacob's approach to
his tuneful, folk-based
material which is
symphonic: weighty in
exposition and
development, sonorous and
expressive in the slow
movement, with a
scherzo-like last
movement and a giocoso
coda. After a brilliant
opening fanfare, the
quick triple-meter first
theme (Allegro Risoluto)
is introduced on
clarinets, punctuated
with brass. It is soon
followed by a contrasting
melody for saxophone. In
all this material the
interval of a 4th is
prominent, and throughout
the work the 4th and 7th
are important. Perhaps it
is the frequent use of
the 7th which gives a
feeling of restlessness
without resolution which
pervades this movement as
the themes are dissected
and developed. The second
movement follows directly
after a horn bridge.
Still the melody outlines
the 7th and the ear is
not satisfied until the
full band (with organ),
comes to rest in Bb
major. This point of
repose and the magic
pianissimo which follows
shortly after when the
slow theme is re-stated,
are the apex of the
Symphony's construction.
Soon, however, we are
transported, via a
fanfare, into a
helter-skelter 9/8 romp:
rustic, English, and
almost vulgar, this theme
is thrown around the
group before exploding
into a boisterous 2/4
coda.
Concerto in G Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
Concert band Piano and concert band - Grade 5 SKU: BF.BM849-SET For Pi...(+)
Concert band Piano and
concert band - Grade 5
SKU: BF.BM849-SET
For Piano and
Orchestra. Composed
by Maurice Ravel.
Arranged by Simon
Scheiwiller. Baton Music
instrumental series. For
Piano and Orchestra. Full
Score and set of parts.
Baton Music #BM849-SET.
Published by Baton Music
(BF.BM849-SET).
Maurice Ravel's
'Piano Concerto in G
major' was composed
between 1929 and 1931.
The concerto was deeply
infused with jazz idioms
and harmonies, which, at
the time, were highly
popular in Paris as well
as the United States,
where Ravel was traveling
on a piano tour. Ravel
remarked that The most
captivating part of jazz
is its rich and diverting
rhythm. ... Jazz is a
very rich and vital
source of inspiration for
modern composers and I am
astonished that so few
Americans are influenced
by it. Swiss arranger
Simon Scheiwiller
transcribed the concerto
for piano with
accompaniment of a
Symphonic Band with great
respect to the original
instrumentation.
Concerto in G Orchestre d'harmonie [Conducteur] - Intermédiaire Baton Music
Concert band Piano and concert band - Grade 5 SKU: BF.BM849-SCORE For ...(+)
Concert band Piano and
concert band - Grade 5
SKU:
BF.BM849-SCORE
For
Piano and Orchestra.
Composed by Maurice
Ravel. Arranged by Simon
Scheiwiller. Baton Music
instrumental series. For
Piano and Orchestra. Full
score. Baton Music
#BM849-SCORE. Published
by Baton Music
(BF.BM849-SCORE).
Maurice Ravel's
'Piano Concerto in G
major' was composed
between 1929 and 1931.
The concerto was deeply
infused with jazz idioms
and harmonies, which, at
the time, were highly
popular in Paris as well
as the United States,
where Ravel was traveling
on a piano tour. Ravel
remarked that The most
captivating part of jazz
is its rich and diverting
rhythm. ... Jazz is a
very rich and vital
source of inspiration for
modern composers and I am
astonished that so few
Americans are influenced
by it. Swiss arranger
Simon Scheiwiller
transcribed the concerto
for piano with
accompaniment of a
Symphonic Band with great
respect to the original
instrumentation.
Composed by Derek
Bourgeois. Arranged by
Mikkelson. Score only.
Duration 15:00. Published
by G & M Brand Music
Publishers (CN.S11307).
Sea Dreams was
written in memory of the
composer's wife, Jean.
After an introduction,
which is not heard again
until the end of the
piece, the music becomes
a rondo allegro, and
gradually builds to a big
climax. At the very end
there is an oblique
reference to the
Liebestod of Wagner's
Tristan and
Isolde.
Sea Dreams
was originally a
commission, in 2007, from
an American University
who wanted me to write a
piece in memory of my
first wife, Jean, who
died in 2006. I set about
writing the music and
quickly completed the
score early in 2008, but,
unfortunately, because of
the sudden collapse in
the worldwide financial
markets the commission
itself fell through. The
music draws on three of
the pieces that I had
written for Jean in the
early days before we were
married, namely two
violin sonatas (she was a
violinist) and the
'Serenade' Opus 22 one of
my most popular pieces.
However the bulk of the
music is new, and the
quotes from these early
pieces are subtle and
merely passing
references, not at all
like the originals. After
an introduction, which is
not heard again until the
end of the piece, the
music becomes a rondo
allegro, and gradually
builds to a big climax.
At the very end there is
an oblique reference to
the Liebestod of Wagner's
Tristan and Isolde. Sea
Dreams was premiered by
Birmingham Symphonic
Winds, conducted by Keith
Allen, on Saturday March
20th 2010 at the CBSO
Centre, Birmingham,
England.
Composed by Derek
Bourgeois. Arranged by
Mikkelson. Score and
parts. Duration 15:00.
Published by G & M Brand
Music Publishers
(CN.R10307).
Sea Dreams was
written in memory of the
composer's wife, Jean.
After an introduction,
which is not heard again
until the end of the
piece, the music becomes
a rondo allegro, and
gradually builds to a big
climax. At the very end
there is an oblique
reference to the
Liebestod of Wagner's
Tristan and Isolde.
Sea Dreams was
originally a commission,
in 2007, from an American
University who wanted me
to write a piece in
memory of my first wife,
Jean, who died in 2006. I
set about writing the
music and quickly
completed the score early
in 2008, but,
unfortunately, because of
the sudden collapse in
the worldwide financial
markets the commission
itself fell through. The
music draws on three of
the pieces that I had
written for Jean in the
early days before we were
married, namely two
violin sonatas (she was a
violinist) and the
'Serenade' Opus 22 one of
my most popular pieces.
However the bulk of the
music is new, and the
quotes from these early
pieces are subtle and
merely passing
references, not at all
like the originals. After
an introduction, which is
not heard again until the
end of the piece, the
music becomes a rondo
allegro, and gradually
builds to a big climax.
At the very end there is
an oblique reference to
the Liebestod of Wagner's
Tristan and Isolde. Sea
Dreams was premiered by
Birmingham Symphonic
Winds, conducted by Keith
Allen, on Saturday March
20th 2010 at the CBSO
Centre, Birmingham,
England.
Happy Together Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Scomegna Edizioni Musicali
By A. Gordon, G. Bonner. Arranged by Doppel. Concert band. A great top-charts hi...(+)
By A. Gordon, G. Bonner.
Arranged by Doppel.
Concert band. A great
top-charts hit of the
'60. Pop Music. Grade
2.5. Score and set of
parts. Duration 2:45
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).
Time To Say Goodbye Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104969-140 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1104969-140
As performed by Andrea
Bocelli. Composed by
F. Peterson, Francesco
Sartori, and Lucio
Quarantotto. Arranged by
Toshio Mashima. New
Sounds for Concert Band.
Pop & Rock. Score Only.
Composed 2010. 20 pages.
De Haske Publications
#DHP 1104969-140.
Published by De Haske
Publications
(BT.DHP-1104969-140).
9x12 inches.
English-German-French-Dut
ch.
This beautiful
duet was an appropriate
way to mark the end of
Henry Maske’s
career and simultaneously
introduce Andrea Bocelli
to the international
music scene. His
collaboration with Sarah
Brightman resulted in an
unforgettable
performance. Perfect for
ending or providing an
intimate moment during
your concert, this
arrangement exhibits the
high standards the New
Sounds for Concert Band
series is known for.
Met dit
meeslepende duet brak
Andrea Bocelli in 1996
internationaal door als
tenor. Hij zong dit
onvergetelijke lied samen
met Sarah Brightman.
Time to say
Goodbye is het ideale
werk om als slot van uw
uitvoering, als
afscheidsliedof gewoon
als rustig moment in uw
concert te programmeren.
Kwaliteit zoals u dat
gewend bent in de serie
New Sounds for Concert
Band!
Dieses
mitreißende Duett
wurde 1996 zur Hymne zum
Abschluss der Karriere
von Henry Maske und
markierte gleichzeitig
den internationalen
Durchbruch des Startenors
Andrea Bocelli, dessen
Auftritt mit Sarah
Brightman unvergessen
ist. Zum Abschluss Ihres
Konzerts, zum Abschied
oder einfach nur als
gefühlvoller,
ruhiger Programmpunkt
eignet sich diese
Bearbeitung in gewohnter
Qualität der Reihe New
Sounds for Concert Band
ideal!
Questo
coinvolgente duo del 1966
cantato per onorare la
fine della carriera di
Herny Maske ha anche
segnato il debutto
internazionale di Andrea
Bocelli, la cui
interpretazione al fianco
di Sarah Brightman resta
indimenticabile. Un brano
ideale per concludere il
vostro concerto, ma anche
come brano di sicuro eff
etto del vostro
programma.
Time To Say Goodbye Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104969-010 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1104969-010
As performed by Andrea
Bocelli. Composed by
F. Peterson, Francesco
Sartori, and Lucio
Quarantotto. Arranged by
Toshio Mashima. New
Sounds for Concert Band.
Pop and Rock. Set (Score
and Parts). Composed
2010. De Haske
Publications #DHP
1104969-010. Published by
De Haske Publications
(BT.DHP-1104969-010).
9x12 inches.
English-German-French-Dut
ch.
This beautiful
duet was an appropriate
way to mark the end of
Henry Maskeâ??s career
and simultaneously
introduce Andrea Bocelli
to the international
music scene. His
collaboration with Sarah
Brightman resulted in an
unforgettable
performance. Perfect for
ending or providing an
intimate moment during
your concert, this
arrangement exhibits the
high standards the New
Sounds for Concert Band
series is known for.
Met dit
meeslepende duet brak
Andrea Bocelli in 1996
internationaal door als
tenor. Hij zong dit
onvergetelijke lied samen
met Sarah Brightman.
Time to say
Goodbye is het ideale
werk om als slot van uw
uitvoering, als
afscheidsliedof gewoon
als rustig moment in uw
concert te programmeren.
Kwaliteit zoals u dat
gewend bent in de serie
New Sounds for Concert
Band!
Dieses
mitreiÃ?ende Duett wurde
1996 zur Hymne zum
Abschluss der Karriere
von Henry Maske und
markierte gleichzeitig
den internationalen
Durchbruch des Startenors
Andrea Bocelli, dessen
Auftritt mit Sarah
Brightman unvergessen
ist. Zum Abschluss Ihres
Konzerts, zum Abschied
oder einfach nur als
gefu?hlvoller, ruhiger
Programmpunkt eignet sich
diese Bearbeitung in
gewohnter Qualität der
Reihe New Sounds for
Concert Band ideal!
Questo
coinvolgente duo del 1966
cantato per onorare la
fine della carriera di
Herny Maske ha anche
segnato il debutto
internazionale di Andrea
Bocelli, la cui
interpretazione al fianco
di Sarah Brightman resta
indimenticabile. Un brano
ideale per concludere il
vostro concerto, ma anche
come brano di sicuro eff
etto del vostro
programma.
Characteristic
Intermezzo. Composed
by Albert Ketèlbey.
Great Classics.
Transcription. Set (Score
& Parts). Composed 2008.
Music Sales #1515-08-010
MS. Published by Music
Sales
(BT.1515-08-010-MS).
9x12 inches.
English-German-French-Dut
ch.
De Engelse
componist, dirigent en
pianist Albert W.
Ketèlbey (1875-1959)
werd vooral bekend met
zijn kleurrijke
instrumentaties die waren
gebaseerd op oosterse
muziek. In a Monastery
Garden,
waarschijnlijk het
bekendste werkvan
Ketèlbey, gecomponeerd
in 1915, is een kort
symfonisch gedicht. In
dit arrangement voor
harmonieorkest van Tohru
Takahashi komt de sfeer
van het oorspronkelijke
werk uitstekend tot zijn
recht.
Der
englische Komponist,
Dirigent und Pianist
Albert W. Ketèlbey
(1875-1959) machte sich
besonders durch seine
farbigen
Instrumentierungen, die
auf orientalischer Musik
basierten, einen Namen.
In a Monastery
Garden, Ketèlbeys
wohl bekanntestes Werk,
gehört zu einer Reihe
kurzer Tongedichte aus
dem Jahre 1915. Diese
Transkription von Tohru
Takahashi wird der
Atmosphäre des
Originals voll und ganz
gerecht.
Arranged by Percy
Aldridge Grainger, R.
Mark Rogers, and ed./arr.
Adolf Schmid. Full
Orchestra; Performance
Music Ensemble; Single
Titles. Kalmus
Masterworks Library.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A936390.
Published by
LudwigMasters
Publications
(AP.36-A936390).
UPC:
659359535758.
English.
One of
Percy Aldridge Grainger's
most popular encores was
improvisations on English
Morris Dance tunes that
he programmed as Country
Gardens. An instant hit,
Grainger finalized this
setting in spring 1918,
and after publication in
1919, the sales of the
sheet music broke
publishing records and
brought in the sort of
steady income that is the
envy of composers
everywhere. While he used
the funds to subsidize
the careers of many
fellow artists, Grainger
became so identified with
this rather lightweight
piece that he came to
despise it. Publisher G.
Schirmer, wishing to
capitalize on the
popularity of Country
Gardens, assigned Adolf
Schmid, one of their
in-house writers, to
create this excellent
orchestral version
published in 1925. Schmid
was an Austrian-American
composer of some stature
who, as a staff writer
for the firm G. Schirmer,
created orchestral
versions of Grainger's
Irish Tune from County
Derry and Children's
March, as well as music
by numerous other
composers. Schmid's
orchestration served as
the source material for a
band version of Country
Gardens that appeared in
1931, attributed to Tom
Clark. The following note
appeared on the concert
band Synoptic Score (a
most un-Grainger-like
term): String-Bass and
Harp (or any other) parts
from Adolf Schmid's
Arrangement of this
number for orchestra
(Galaxy No. 269) may be
used with this band
arrangement, affirming
the relationship between
Schmid's orchestration
and Clark's band version.
This edition has been
revised and edited by R.
Mark Rogers.
Instrumentation: 2(2nd
dPicc).2.2.2: 4.2.3.1:
Timp.Perc(4-5):
Hp.Pno(opt.):
Str(9.8.7.6.5 in
set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Arranged by Percy
Aldridge Grainger, R.
Mark Rogers, and ed./arr.
Adolf Schmid. Full
Orchestra. Kalmus
Masterworks Library.
Masterwork. Score.
LudwigMasters
Publications #36-A936301.
Published by
LudwigMasters
Publications
(AP.36-A936301).
ISBN
9798892705585. UPC:
659359956157.
English.
One of
Percy Aldridge Grainger's
most popular encores was
improvisations on English
Morris Dance tunes that
he programmed as Country
Gardens. An instant hit,
Grainger finalized this
setting in spring 1918,
and after publication in
1919, the sales of the
sheet music broke
publishing records and
brought in the sort of
steady income that is the
envy of composers
everywhere. While he used
the funds to subsidize
the careers of many
fellow artists, Grainger
became so identified with
this rather lightweight
piece that he came to
despise it. Publisher G.
Schirmer, wishing to
capitalize on the
popularity of Country
Gardens, assigned Adolf
Schmid, one of their
in-house writers, to
create this excellent
orchestral version
published in 1925. Schmid
was an Austrian-American
composer of some stature
who, as a staff writer
for the firm G. Schirmer,
created orchestral
versions of Grainger's
Irish Tune from County
Derry and Children's
March, as well as music
by numerous other
composers. Schmid's
orchestration served as
the source material for a
band version of Country
Gardens that appeared in
1931, attributed to Tom
Clark. The following note
appeared on the concert
band Synoptic Score (a
most un-Grainger-like
term): String-Bass and
Harp (or any other) parts
from Adolf Schmid's
Arrangement of this
number for orchestra
(Galaxy No. 269) may be
used with this band
arrangement, affirming
the relationship between
Schmid's orchestration
and Clark's band version.
This edition has been
revised and edited by R.
Mark Rogers.
Instrumentation: 2(2nd
dPicc).2.2.2: 4.2.3.1:
Timp.Perc(4-5):
Hp.Pno(opt.):
Str(9.8.7.6.5 in
set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Trumpeter's Lullaby Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 5 SKU: BT.DHP-1063975-010 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 5
SKU:
BT.DHP-1063975-010
Composed by Leroy
Anderson. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music. Set
(Score & Parts). Composed
2006. De Haske
Publications #DHP
1063975-010. Published by
De Haske Publications
(BT.DHP-1063975-010).
9x12 inches.
English-German-French-Dut
ch.
According to
music critic Mark Azarra,
Leroy Anderson
(1908-1975) was
“one of the four
best composers of
instrumental music in the
20th century, next to
George Gershwin, Aaron
Copland and Charles
Ivesâ€. Many of his
nostalgic songs such as
Sleigh Ride and
Blue Tango are
firmly embedded in the
American popular music
culture. In 1945 at the
request of Roger Voisin,
the principal trumpeter
of the Boston Pops
Orchestra, Anderson wrote
the Trumpeter’s
Lullaby. This version
for concert band by will
be a sure
winner.
Volgens
muziekcriticus Mark
Azarra was Leroy Anderson
(1908-1975) “een
van de vier beste
componisten van
instrumentale muziek in
de twintigste eeuw, naast
George Gershwin, Aaron
Copland en Charles
Ivesâ€. Nostalgische
songs van zijnhand, zoals
als Sleigh Ride en
Blue Tango, zijn
stevig ingebed in de
Amerikaanse
lichtemuziekcultuur. Op
verzoek van Roger Voisin,
destijds eerste
trompettist van het
Boston Pops Orchestra,
schreef Anderson in
1945het luchtige stuk
Trumpeter’s
Lullaby.
Tr
umpeter's Lullaby
gehört seit seinem
Entstehungsjahr 1950 zum
unterhaltsamen
Standardrepertoire vieler
Trompetensolisten. Leroy
Anderson komponierte den
Titel auf Anregung von
Roger Voisin, dem ersten
Trompeter des Boston
Symphony Orchestras.
Dieser wünschte sich
ein Solo, das sich vom
lauten, triumphalen Klang
der meisten Trompetensoli
unterschieden sollte. So
entstand die Idee zu
diesem Wiegenlied, das
nun in einer Bearbeitung
für Trompete und
Blasorchester
vorliegt.
Ai nostri
giorni, la musica leggera
che nel primo dopoguerra
fece la gioia di tanti
radioascoltatori, sta
cadendo
nell’oblio. Tra i
molti brani, spiccava la
musica del compositore
americano Leroy Anderson
(1908-1975). Descrittive
e spesso sorprendenti, le
sue musiche hanno
conservato la freschezza
e lo charme di allora.
Trumpeter’s
Lullaby è un brano
dolce dove la tromba
vuole essere tenera ed
eterea. Un brano magico
anche grazie
all’accompagnament
o.
Trumpeter's Lullaby Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 5 SKU: BT.DHP-1063975-140 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 5
SKU:
BT.DHP-1063975-140
Composed by Leroy
Anderson. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music.
Score Only. Composed
2006. 24 pages. De Haske
Publications #DHP
1063975-140. Published by
De Haske Publications
(BT.DHP-1063975-140).
9x12 inches.
English-German-French-Dut
ch.
According to
music critic Mark Azarra,
Leroy Anderson
(1908-1975) was
“one of the four
best composers of
instrumental music in the
20th century, next to
George Gershwin, Aaron
Copland and Charles
Ivesâ€. Many of his
nostalgic songs such as
Sleigh Ride and
Blue Tango are
firmly embedded in the
American popular music
culture. In 1945 at the
request of Roger Voisin,
the principal trumpeter
of the Boston Pops
Orchestra, Anderson wrote
the Trumpeter’s
Lullaby. This version
for concert band by will
be a sure
winner.
Volgens
muziekcriticus Mark
Azarra was Leroy Anderson
(1908-1975) “een
van de vier beste
componisten van
instrumentale muziek in
de twintigste eeuw, naast
George Gershwin, Aaron
Copland en Charles
Ivesâ€. Nostalgische
songs van zijnhand, zoals
als Sleigh Ride en
Blue Tango, zijn
stevig ingebed in de
Amerikaanse
lichtemuziekcultuur. Op
verzoek van Roger Voisin,
destijds eerste
trompettist van het
Boston Pops Orchestra,
schreef Anderson in
1945het luchtige stuk
Trumpeter’s
Lullaby.
Tr
umpeter's Lullaby
gehört seit seinem
Entstehungsjahr 1950 zum
unterhaltsamen
Standardrepertoire vieler
Trompetensolisten. Leroy
Anderson komponierte den
Titel auf Anregung von
Roger Voisin, dem ersten
Trompeter des Boston
Symphony Orchestras.
Dieser wünschte sich
ein Solo, das sich vom
lauten, triumphalen Klang
der meisten Trompetensoli
unterschieden sollte. So
entstand die Idee zu
diesem Wiegenlied, das
nun in einer Bearbeitung
für Trompete und
Blasorchester
vorliegt.
Ai nostri
giorni, la musica leggera
che nel primo dopoguerra
fece la gioia di tanti
radioascoltatori, sta
cadendo
nell’oblio. Tra i
molti brani, spiccava la
musica del compositore
americano Leroy Anderson
(1908-1975). Descrittive
e spesso sorprendenti, le
sue musiche hanno
conservato la freschezza
e lo charme di allora.
Trumpeter’s
Lullaby è un brano
dolce dove la tromba
vuole essere tenera ed
eterea. Un brano magico
anche grazie
all’accompagnament
o.