Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 1st F Horn, 2nd F Hor) - grade 3

SKU: CN.S11266

Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score only. Duration 2:20. Published by G & M Brand Music Publishers (CN.S11266).

A short, melting example of why the music of Jules Massenet was so respected and admired in his native France during his lifetime. The Last Sleep of the Virgin is from the oratorio La Viege and was originally for string orchestra. This masterful arrangement will provide a delightful moment of quiet beauty on your program.

Nestling within the pages of La Viege, an Oratorio written in 1880 but with no evidence of a full performance, is to be found The Last Sleep of the Virgin, a short melting example of why the music of Jules Massenet (1842-1912) was so highly respected and admired in his native France during his lifetime. Massenet composed more than 40 operas, including Herodiade, Manon, Le Cid, and Thais, and his influence on French music was monumental. The Last Sleep of the Virgin was originally scored for string orchestra. This arrangement for woodwind and brass offers the opportunity for this gentle music to be heard in a different hue, whilst keeping its inherent beauty for the satisfaction of those performing it and sharing the experience as listeners.

Concert Band; Orchestra 2.1+EH.2+BCl.2: Asax: 4.0.3.0: Timp: Hp: Str (4-4-3-3-3 in set): Solo Tenor

SKU: AP.36-A289701

Composed by Georges Hartmann (pseudonym Henri Grémont) after Die Leiden des jungen Werthers by Johann Wolfgang von Goethe, Jules Massenet/ Libretto by Édouard Blau, and Paul Milliet. Serious Opera, Orchestra Accompaniment, Conductor Score. Kalmus Opera Library. Score. LudwigMasters Publications #36-A289701. Published by LudwigMasters Publications (AP.36-A289701).

ISBN 9798892702232. UPC: 659359552748. English.

WERTHER, an opera in four acts by Jules Massenet (1842-1912), found its inspiration in a novel by Goethe, The Sorrows of Young Werther, which in turn based its story on the actual suicide of a young man haunted with adoration for a married woman. First performed on February 16, 1892 in Vienna, it quickly reached the stage of the Theatre Lyrique in Paris but faltered due to its serious subject matter. The growing success of Massenet's opera Manon allowed it to be introduced to Germany. From there, it achieved fame in opera houses across the world. In the third act, Werther sings Pourquoi me réveiller? (Why do you awaken me, oh breath of spring?), contrasting his blissful realization that Charlotte has accepted his love with the impending realization that their happiness cannot last. Reprint edition. Instrumentation: 2.1+EH.2+BCl.2: Asax: 4.0.3.0: Timp: Hp: Str (4-4-3-3-3 in set): Solo Tenor.

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.

Concert Band; Orchestra 2.1+EH.2+BCl.2: Asax: 4.0.3.0: Timp: Hp: Str (4-4-3-3-3 in set): Solo Tenor

SKU: AP.36-A289702

Composed by Georges Hartmann (pseudonym Henri Grémont) after Die Leiden des jungen Werthers by Johann Wolfgang von Goethe, Jules Massenet/ Libretto by Édouard Blau, and Paul Milliet. Serious Opera, Orchestra Accompaniment, Conductor Score & Parts. Kalmus Opera Library. Score and Part(s). LudwigMasters Publications #36-A289702. Published by LudwigMasters Publications (AP.36-A289702).

UPC: 659359961236. English.

WERTHER, an opera in four acts by Jules Massenet (1842-1912), found its inspiration in a novel by Goethe, The Sorrows of Young Werther, which in turn based its story on the actual suicide of a young man haunted with adoration for a married woman. First performed on February 16, 1892 in Vienna, it quickly reached the stage of the Theatre Lyrique in Paris but faltered due to its serious subject matter. The growing success of Massenet's opera Manon allowed it to be introduced to Germany. From there, it achieved fame in opera houses across the world. In the third act, Werther sings Pourquoi me réveiller? (Why do you awaken me, oh breath of spring?), contrasting his blissful realization that Charlotte has accepted his love with the impending realization that their happiness cannot last. Reprint edition. Instrumentation: 2.1+EH.2+BCl.2: Asax: 4.0.3.0: Timp: Hp: Str (4-4-3-3-3 in set): Solo Tenor.

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.

Grade 3

SKU: CL.012-4702-00

From Thais. Composed by Jules Massenet. Arranged by Glover. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR395). Score and set of parts. Composed 2018. Duration 4 minutes, 21 seconds. Opus III Wind Orchestra Publications #012-4702-00. Published by Opus III Wind Orchestra Publications (CL.012-4702-00).

Excerpted from French composer Jules Massenet’s opera Thais, this beautiful setting of Meditation has been arranged for flute solo with concert band. Feature your outstanding flautist or guest artist with this lovely work. The band accompaniment requires a minimal amount of rehearsal and preparation, and provides a great opportunity to showcase your soloist. Stunning!

About C.L. Barnhouse Spotlight Series

The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments

Grade 3

SKU: CL.012-4702-01

From Thais. Composed by Jules Massenet. Arranged by Glover. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR395). Extra full score. Composed 2018. Duration 4 minutes, 21 seconds. Opus III Wind Orchestra Publications #012-4702-01. Published by Opus III Wind Orchestra Publications (CL.012-4702-01).

Excerpted from French composer Jules Massenet’s opera Thais, this beautiful setting of Meditation has been arranged for flute solo with concert band. Feature your outstanding flautist or guest artist with this lovely work. The band accompaniment requires a minimal amount of rehearsal and preparation, and provides a great opportunity to showcase your soloist. Stunning!

About C.L. Barnhouse Spotlight Series

The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments

By J. Massenet. Arranged by John Nimbly. For wind band or solo euphonium/baritone with concert band. Grade 2-3 / Solo - Grade 3-4. Score and set of parts. Duration 03:55. Published by Tierolff Muziekcentrale

By Jules Massenet (1842-1912). Arranged by Gerard Boedijn. For Concert Band. Arrangements of Classical Pieces. Classic Arrangement. Grade 6. Score. Published by Molenaar Edition

Concert band - Grade 3

SKU: RM.MASS03798-CO

Composed by Jules Massenet. Arranged by Michel Sorlin. Classical music. Orchestra. Conductor's score. Editions Robert Martin #MASS03798-CO. Published by Editions Robert Martin (RM.MASS03798-CO).

Grade 3

SKU: CL.012-4702-75

From 'Thais'. Composed by Jules Massenet. Arranged by Glover. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR395). Oversized, spiral-bound score. Composed 2018. Duration 4 minutes, 21 seconds. Opus III Wind Orchestra Publications #012-4702-75. Published by Opus III Wind Orchestra Publications (CL.012-4702-75).

About C.L. Barnhouse Spotlight Series

The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments

By Jules Massenet (1842-1912). Arranged by Claude LeJeune. For Concert Band. Arrangements of Classical Pieces. Classic Arrangement. Grade 6. Score and Parts. Published by Molenaar Edition

By Jules Massenet. Arranged by John Glenesk Mortimer. Concert Band. For Solo and Concert Band. Swiss import. Level: Grade 3+. Score and parts. Published by Editions Marc Reift. (EMR 10635)

By Jules Massenet (1842-1912). Arranged by John R. Bourgeois. For Concert Band. Concert Band Music. Bourgeois Editions. Concert March. Medium. Full Score and Set of Parts

Concert band - Grade 3

SKU: RM.MASS03798-BA

Composed by Jules Massenet. Arranged by Michel Sorlin. Classical music. Orchestra. Full set. Duration 5 minutes, 4 seconds. Editions Robert Martin #MASS03798-BA. Published by Editions Robert Martin (RM.MASS03798-BA).

ISBN 9790231037982.

By Massenet & G. Brand. Concert Band. Band Music. Grade 3. Score and set of parts

Concert Band/Harmonie/Fanfare Band - Grade 1.5

SKU: BT.1518-07-015-MS

Composed by Vincent Ford. Arranged by Peter Kleine Schaars. Flexible 5 Series. Pop & Rock. Set (Score & Parts). Composed 2008. Music Sales #1518-07-015 MS. Published by Music Sales (BT.1518-07-015-MS).

9x12 inches. English-German-French-Dut ch.

This well-known reggae song was a great hit for the Jamaican group Bob Marley and The Wailers in the live version of 1975. It was written by Bob Marley himself, but he had it attributed to a man called Vincent Ford, a friend of his - who could keep running his soup kitchen in Trenchtown with the royalties. No Woman, No Cry is still a classic within pop music. This arrangement for a variable four-part line-up was written by Peter Kleine Schaars, who has produced many more successful arrangements of popular hits.

Dit bekende reggaenummer was in de liveversie van 1975 een grote hit voor de Jamaicaanse groep Bob Marley and The Wailers. Het werd door Bob Marley zelf geschreven, maar hij liet het officieel toeschrijven aan ene Vincent Ford, eenvriend van hem - die met de royalty’s zijn gaarkeuken in Trenchtown draaiende kon houden. No Woman, No Cry is nog altijd een klassieker binnen de popmuziek. Dit arrangement voor een variabele vierstemmige bezetting is vande hand van Peter Kleine Schaars, die al meer succesvolle bewerkingen van populaire hits op zijn naam heeft staan.

Dieser berühmte Reggae-Song war ein Riesenhit der jamaikanischen Gruppe Bob Marley and The Wailers im Jahr 1975. Geschrieben wurde es von Bob Marley selbst, der es jedoch einem Freund namens Vincent Ford zuschrieb - dieser konnte mit den Tantiemen seine Suppenküche in Trenchtown finanzieren. No Woman, No Cry ist noch immer ein Klassiker der Popmusik. Diese Bearbeitung für eine fünfstimmig variable Besetzung stammt aus der Feder von Peter Kleine Schaars, der schon zahlreiche erfolgreiche Pophit-Arrangements produziert hat.

Le légendaire chanteur et compositeur jama can Bob Marley (1945-1981) - de son vrai nom Robert Nesta Marley - reste toujours d’actualité, plus d’un quart de siècle après sa mort. Il est toujours considéré comme un héros par des millions de fans dans le monde entier, et plus particulièrement en Jama que, son pays natal. Pour ses compatriotes, il est bien plus qu’un héros ou une légende comme en témoignent les funérailles nationales qui lui ont été accordées après son décès. Bob Marley a reçu les honneurs de la nation, et cela juste titre. Il était et restera le « roi du reggae », celui qui a fait découvrir au grand public la musique des Cara bes. En 1975, Bob Marley & theWailers connaissent un immense succès avec la version « live » de la chanson No Woman, No Cry. Si Bob Marley en est le véritable auteur, il la crédita son ami Vincent Ford qui put ainsi continuer de servir la soupe populaire dans les quartiers défavorisés de Trenchtown gr ce aux royalties touchées. No Woman, No Cry est devenu un standard de la musique pop. Cet arrangement quatre voix pour ensemble instrumentatioon variable est signé Peter Kleine Schaars.

Concert Band/Harmonie - Grade 5

SKU: BT.GOB-001200-010

Composed by Rob Goorhuis. Concert Piece. Set (Score & Parts). Composed 2013. 170 pages. Gobelin Music Publications #GOB 001200-010. Published by Gobelin Music Publications (BT.GOB-001200-010).

9x12 inches. English.

The Innocent Condemned tells of the so-called buck riders (bokkerijders) who, in the middle of the 18th Century caused mayhem in the area around Limburg. Calmer passages in the music depict the fear of the locals, while a vivo furioso describes a night raid, and powerful drum sounds together with emotional musical lines illustrate the execution of an innocent. A gripping piece of history caught in music!

Deze indrukwekkende compositie vertelt het verhaal van de ‘Bokkenrijders’, een bende rovers die in de helft van de 18e eeuw de streek rond Limburg onveilig maakten. Vele burgers werden nadien valselijk beschuldigd bokkenrijders te zijn geweest. Ze werden ten onrechte veroordeeld en brutaal terechtgesteld. In deze programmamuziek van Rob Goorhuis kun je de gebeurtenissen terughoren.

The Innocent Condemned (Der unschuldig Verurteilte) erzählt von den so genannten Bokkerijders“ (Bockreitern), die Mitte des 18. Jahrhundert die Gegend um Limburg unsicher machten. Ruhige Passagen im Werk zeugen von der Angst der Bürger, ein Vivo furioso beschreibt einen nächtlichen Überfall und vehemente Schlagzeugklänge sowie emotionale musikalische Linien illustrieren die Hinrichtung eines Unschuldigen. Ein packendes Stück Geschichte in Musik gefasst!

Selon la légende, les Buckriders étaient un gang de voleurs sans scrupules qui dévalisaient les fermes et les presbytères lors de leur passage. Il a été dit que les membres avaient fait un pacte avec Satan et chevauchaient dans le ciel dos de chèvres. Les passages calmes dans l’œuvre témoignent de la crainte des citoyens, un Vivo furioso décrit un raid de nuit et les sons véhéments des percussions suivis de lignes musicales lyriques illustrent l’exécution d’un innocent. Cette histoire de légende reprend vie gr ce la musique de Rob Goorhuis.

The Innocent Condemned narra la storia dei “Bokkerijders”, briganti che nel XVIII secolo terrorizzavano con le loro gesta la regione olandese intorno a Limburg. I passaggi calmi proposti nel brano evocano la paura dei cittadini, un Vivo furioso descrive un’incursione notturna, mentre i suoni veementi delle percussioni seguiti da una linea melodica lirica traspogono in musica l’esecuzione di un innocente. Un brano coinvolgente che riassume la storia in musica!

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000712-140

Composed by Jan Bosveld. Score Only. 40 pages. Gobelin Music Publications #GOB 000712-140. Published by Gobelin Music Publications (BT.GOB-000712-140).

The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III.
He reigned the New Kingdom from 1353 until 1336 BC.
Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history.
His harsh reign induced much suffering under the population.
During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside.
An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton.
Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself.
Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself.
It was now necessary to change his name: ‘Amenhotep’ meaning ‘the god Amun is satisfied’, because he didnt want to be associated with Amun or any of the other deities.
He renamed himself ‘Achnaton’ which means ‘servant of the Aten’ -- a much more appropriate title!
In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton (‘the Horizon of the Aten’) which was where Tel el-Amarna stands today. He did this to further isolate himself from the ‘old’ religion, since the previous capital Thebes was thecentre of worship of Amun.
This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire.
Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings.
From that moment on he was remembered as the‘heretic king’.

This composition was partially funded by the ‘Prins Bernhard Cultuurfonds’.

D e Egyptische farao Achnaton was de zoon en opvolger van Amenhotep III en besteeg de troon als Amenhotep IV.
Hij regeerde van 1353 tot 1336 voor Christus.
Achnaton was nauwelijks ge?nteresseerd in politiek en handel waardoorhet Egyptische rijk onder zijn bewind in economisch verval raakte. Hij regeerde per decreet waaronder de bevolking zwaar te leiden had.
In die tijd was het gebruikelijk dat de farao’s meerdere vrouwen hadden waarvan hij eréén tot zijn hoofdvrouw koos waarmee hij zijn rijk regeerde.
Nefertete was de uitverkorene. Een zeer mooie, elegante vrouw, die met haar invloed op het harde beleid van Achnaton nog voor enige verlichting zorgde. Dit en haar aanwezigheidbij openbare presentaties leidde ertoe dat zij bij de bevolking een veel grotere populariteit genoot dan de farao zelf.
Achnaton hield zich vooral bezig met religieuze vraagstukken. Hij brak met het idee dat er meergoden zouden bestaan. Volgens hem was er slechts één god, namelijk de zon. Deze zonnegod noemde hij Aton.
Nadat deze gedachte zich bij hem had geopenbaard veranderde hij zijn naam van Amenhotep in Achnaton, hetgeen in het Egyptisch“Aton welgevallig” betekent.
In zijn zesde regeringsjaar stichtte Achnaton de nieuwe regeringszetel “Achet-Aton”, ver van de bewoonde wereld in de woestijn.
Deze stad, het huidige Tell el-Amarna in Midden-Egypte,stond geheel in het teken van de zonnegod. Deze nieuwe godsdienst stuitte op veel weerstand bij de bevolking en de priesters. De godsdienststrijd die hierdoor ontstond gekoppeld aan het economische verval zorgde, ondanks de invloedvan Nefertete, voor de ineenstorting van het Egyptische rijk als grote mogendheid.
Na de dood van Achnaton werd de regeringszetel “Achet-Aton” gebruikt als steengroeve. Zijn naam werd verwijderd van de alle bouwwerken en herinneringszuilen.

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000712-010

Composed by Jan Bosveld. Set (Score & Parts). 38 pages. Gobelin Music Publications #GOB 000712-010. Published by Gobelin Music Publications (BT.GOB-000712-010).

The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III.
He reigned the New Kingdom from 1353 until 1336 BC.
Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history.
His harsh reign induced much suffering under the population.
During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside.
An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton.
Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself.
Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself.
It was now necessary to change his name: ‘Amenhotep’ meaning ‘the god Amun is satisfied’, because he didnt want to be associated with Amun or any of the other deities.
He renamed himself ‘Achnaton’ which means ‘servant of the Aten’ -- a much more appropriate title!
In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton (‘the Horizon of the Aten’) which was where Tel el-Amarna stands today. He did this to further isolate himself from the ‘old’ religion, since the previous capital Thebes was thecentre of worship of Amun.
This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire.
Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings.
From that moment on he was remembered as the‘heretic king’.

This composition was partially funded by the ‘Prins Bernhard Cultuurfonds’.

D e Egyptische farao Achnaton was de zoon en opvolger van Amenhotep III en besteeg de troon als Amenhotep IV.
Hij regeerde van 1353 tot 1336 voor Christus.
Achnaton was nauwelijks ge?nteresseerd in politiek en handel waardoorhet Egyptische rijk onder zijn bewind in economisch verval raakte. Hij regeerde per decreet waaronder de bevolking zwaar te leiden had.
In die tijd was het gebruikelijk dat de farao’s meerdere vrouwen hadden waarvan hij eréén tot zijn hoofdvrouw koos waarmee hij zijn rijk regeerde.
Nefertete was de uitverkorene. Een zeer mooie, elegante vrouw, die met haar invloed op het harde beleid van Achnaton nog voor enige verlichting zorgde. Dit en haar aanwezigheidbij openbare presentaties leidde ertoe dat zij bij de bevolking een veel grotere populariteit genoot dan de farao zelf.
Achnaton hield zich vooral bezig met religieuze vraagstukken. Hij brak met het idee dat er meergoden zouden bestaan. Volgens hem was er slechts één god, namelijk de zon. Deze zonnegod noemde hij Aton.
Nadat deze gedachte zich bij hem had geopenbaard veranderde hij zijn naam van Amenhotep in Achnaton, hetgeen in het Egyptisch“Aton welgevallig” betekent.
In zijn zesde regeringsjaar stichtte Achnaton de nieuwe regeringszetel “Achet-Aton”, ver van de bewoonde wereld in de woestijn.
Deze stad, het huidige Tell el-Amarna in Midden-Egypte,stond geheel in het teken van de zonnegod. Deze nieuwe godsdienst stuitte op veel weerstand bij de bevolking en de priesters. De godsdienststrijd die hierdoor ontstond gekoppeld aan het economische verval zorgde, ondanks de invloedvan Nefertete, voor de ineenstorting van het Egyptische rijk als grote mogendheid.
Na de dood van Achnaton werd de regeringszetel “Achet-Aton” gebruikt als steengroeve. Zijn naam werd verwijderd van de alle bouwwerken en herinneringszuilen.