The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

By Steven Reineke. Concert Band. Level: Grade 4.5. Score and set of parts. Composed 2006. Duration 0:09:59. Published by C.L. Barnhouse.

Concert Band (Score) - Grade 4

SKU: HL.4003188

Composed by Richard L. Saucedo. MusicWorks Grade 4. 16 pages. Published by Hal Leonard (HL.4003188).

UPC: 884088655686. 9.0x12.0x0.083 inches.

On a Sunday afternoon in May of 2011 tornados devastated the city of Joplin, Missouri. In Perfect Silence, I Often Gaze at the New Stars is intended as a musical tribute to those who lost their lives that day and to those heroes who gave everything they could to help others. The music is a beautiful blending of sounds and moods, and carries with it a full range of emotions from reflective quiet moments to the massive outpouring from the entire ensemble. An evocative and moving work for band that will resonate with both performers and listeners. Dur: 3:50.

Arranged by Calvin Custer. Score and full set of parts. Young Band (Concert Band). Grade 3. Published by Hal Leonard.

By Jerry Bock, Sheldon Harnick. Arranged by John Moss. (Score and Parts). Discovery Concert Band Plus. Grade 2. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

(Featuring: Ding! Dong! The Witch Is Dead / We're Off to See the Wizard / The Merry Old Land of Oz / So You Wanted to See the Wizard / A Brand New Day (Everybody Rejoice)). Arranged by Victor López. Concert Band. Concert Band; Part(s); Score. Pop Concert Band. Form: Medley. Movie; Pop. Grade 3. 272 pages. Published by Alfred Music Publishing

(Featuring: Ding! Dong! The Witch Is Dead / We're Off to See the Wizard / The Merry Old Land of Oz / So You Wanted to See the Wizard / A Brand New Day (Everybody Rejoice)). Arranged by Victor López. Concert Band. Concert Band; Score. Pop Concert Band. Form: Medley. Movie; Pop. Grade 3. 44 pages. Published by Alfred Music Publishing

Concert Band (Score) - Grade 2

SKU: HL.4005512

Composed by Richard L. Saucedo. MusicWorks Grade 2. Concert. Softcover. 12 pages. Duration 220 seconds. Published by Hal Leonard (HL.4005512).

UPC: 888680745950. 9.0x12.0x0.046 inches.

Some of the most rewarding moments in band can come when the players are emotionally moved by a well-constructed lyric composition. Richard Saucedo's Silhouette of a Dream offers this type of opportunity with its flowing lines and captivating harmonies. Great for teaching tone quality, phrasing and blend. Dur: 3:40.

Concert Band, Symphonic Band (Score) - Grade 5

SKU: HL.4003237

Composed by James Curnow. MusicWorks Grade 5. Concert, Festival. 44 pages. Published by Hal Leonard (HL.4003237).

UPC: 884088668983. 10.5x14 inches.

Commissione d by the Oregon Symphonic Band in Portland, Bridge of the Gods is a dramatic three-movement symphonic poem presenting the colorful legend told by the Native American Klickitatst about the origins of the volcanic mountains of the Cascade range and legendary bridge. The first movement “Saghalie” pays tribute to the powerful chief of all gods and is based on a majestic fanfare theme. The 2nd movement captures the beauty of the maiden “Loowit” with haunting flute and english horns solos accompanied by soft chanting voices. The final movement “Tanmahawis” utilizes stark clusters, jagged melodic fragments and rhythmic percussive energy as it depicts the destruction of the mighty bridge. Duration: 8:50

Recorded by the Oregon Symphonic Band – Michael Burch-Pesses, conductor

(Intermezzo and Barcarola). By Jacques Offenbach (1819-1880). Arranged by Ofburg. For Concert band. Classical, Transcription. Grade 2.5. Score and set of parts. Duration 4:00. Published by Scomegna Edizioni Musical srl

The Spirit of the Sequoia (Grade 4 - Score and Parts). By Philip Sparke (1951-). For Concert Band. Anglo Music Concert Band. Grade 4. Anglo Music Press #AMP067. Published by Anglo Music Press

1st Movement of The Seas of the Moon. Composed by Robert Buckley. MusicWorks Grade 4. Concert. Softcover. Published by Hal Leonard

By Todd Phillips. For young concert band. Command Series. Grade 2.5. Score and set of parts. Duration 2 minutes, 22 seconds. Published by C.L. Barnhouse

By Rob Romeyn. For concert band. Young Band. Rising Band Series. Grade 1.5. Score and set of parts. Duration 2 minutes, 28 seconds. Published by C.L. Barnhouse

By David Shaffer. For concert band. Young Concert Band. Command. Holiday. Grade 2.5. Score and set of parts. Composed 2003. Duration 1 minutes, 51 seconds. Published by C.L. Barnhouse

By George M. Cohan. Arranged by Stan Applebaum. Concert Band/Wind Ensemble. FJH Concert Band. Score for this title: B1099S. Extra part for this title: B1099P. Concert Band. Level: Grade 4. Score and Set of Parts. Published by The FJH Music Company Inc.

By Larry Clark. Concert Band. For Concert Band. Carl Fischer Young Performance Series. Grade 2. Score and Set of Parts. Standard notation. Duration 4:04

Concert Band (Score) - Grade 3

SKU: HL.4005356

Composed by Robert Buckley. MusicWorks Grade 3. Concert. Softcover. Duration 305 seconds. Published by Hal Leonard (HL.4005356).

UPC: 888680714451. 9.0x12.0x0.069 inches.

In 1917 two ships collided in the harbor of Halifax, Canada. The resulting explosion devastated most of the city. Echoes of the Silent is a hymn that pays homage to those who perished and to the resilient souls who survived. This music is reverent and reflective, with emotional ebbs and swells and an eventual build to a stirring theme of hope and inner strength. Ideal as a festival or memorial piece, this work is an opportunity for your ensemble to explore softer dynamics, expression and nuance. Dur: 5:05.

By Robert Sheldon. For concert band. FJH Young Band. Full set (score and parts). Score only also available: B1183S. Grade 2.5. Score and set of parts. Composed 2003

By Robert W. Smith. For concert band. Concert Band series. Grade 3.5. Score and set of parts. Duration 6 minutes, 39 seconds. Published by C.L. Barnhouse

By Robert Longfield. Concert band. Concert Band Series. Audio recording available separately (item CL.WFR372). Grade 3.5. Score and set of parts. Composed 2011. Duration 5 minutes, 44 seconds. Published by C.L. Barnhouse

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

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

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1125039-140

Arranged by Wil van der Beek. Great Classics. Score Only. Composed 2012. 44 pages. De Haske Publications #DHP 1125039-140. Published by De Haske Publications (BT.DHP-1125039-140).

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

Offenbach (1819 - 1880), who was born in Germany, moved to Paris when he was a teenage boy and remained there for much of his life. He became especially famous as a composer of numerous operettas. and of one famous opera: Les Contes d’Hoffmann (The Tales of Hoffmann). His operettas (or ‘musiquettes� �) were often based on comical, or satirical librettos. He makes fun of Parisian daily life, dignitaries, the military, the pretentiousness of the Grand Opéra, and so on. In that respect, Offenbach’s operettas are not really comparable with those of his German-speaking contemporaries, for example, Franz Lehár and Johann Strauss the Younger. Musically speaking, we could callOffenbach’s operettas lively, funny, melodious and catchy.For La Belle Hélène, Offenbach drew from Greek mythology. The story is based on that of Helen of Troy, but is set in France, halfway through the 19th century; it has been turned into a satire on the élite of that time.The overture to La Belle Hélène was (and still is) very successful. Offenbach combined a number of arias and choruses from the operetta to give a taste of what is to follow. Many overtures which follow this form lack unity and structure. However, in this case the composition has been well thought-out.

Offenbach (1819-1880), Duitser van geboorte, verhuisde als jongeman naar Parijs, waar hij een groot deel van zijn leven verbleef. Hij werd vooral beroemd als componist van talrijke operettes en een beroemde opera: Les Contes d’Hoffmann. Zijn operettes (of ‘musiquettes� �) zijn qua libretto vaak komisch en hilarisch, ja zelfs satirisch. Hij steekt hierin de draak met het Parijse mondaine leven, met hoogwaardigheidsbekleders , met militairen, met de bombast van de Grand Opéra, enzovoort. In dat opzicht zijn Offenbachs operettes nauwelijks te vergelijken met die in Duitsland van bijvoorbeeld Franz Lehár en Johann Strauss jr. Muzikaal gezien kunnen we zijn operettes levendig,geestig, melodieus en goed in het gehoor liggend noemen.Voor La Belle Hélène putte Offenbach uit de Griekse mythologie. Het verhaal draait om Helena van Troje, maar is verplaatst naar Frankrijk, halverwege de negentiende eeuw; het is uitgewerkt tot een satire op de heersende elite.De ouverture van La Belle Hélène was (en is nog altijd) zeer succesvol. Offenbach heeft hierin een aantal aria’s en koren uit de operette samengevoegd - een voorproefje dus op wat komen gaat. Veel ouvertures die zo zijn gemaakt, missen eenheid en structuur. In dit geval is er echter sprake van een goed doordachte opbouw.

Der gebürtige Deutsche Jacques Offenbach (1819-1880) zog im Jugendalter nach Paris, wo er den größten Teil seines Lebens verbrachte. Bekannt wurde er vor allem als Komponist zahlreicher Operetten und einer berühmten Oper: Les Contes d’Hoffmann (Hoffmanns Erzählungen). Seine Operetten (oder Musiquettes“) basierte er häufig auf komischen oder gar satirischen Libretti. Darin wird das mondäne Pariser Leben karikiert mit seinen Würdenträgern, Militärs, dem Pomp der Grand Opéra und dergleichen mehr. In dieser Hinsicht sind Offenbachs Operetten vergleichbar mit den deutschen Werken eines Franz Lehár oder Johann Strauss (Sohn). Musikalisch betrachtet können Offenbachs Operetten alslebendig, amüsant, melodiös und eingängig beschrieben werden. Für La Belle Hélène bediente sich Offenbach der griechischen Mythologie. Die Handlung beruht auf Helena von Troja, wurde aber ins Frankreich der Mitte des 19. Jahrhunderts versetzt und in eine Satire auf die damals herrschende Elite verwandelt.Die Ouvertüre von La Belle Hélène war und ist sehr erfolgreich. Offenbach kombinierte darin eine Reihe von Arien und Chorstellen aus der Operette und lieferte so quasi einen Vorgeschmack auf das Folgende. Vielen auf diese Weise entstandene Ouvertüren mangelt es an Einheitlichkeit und Struktur. Diese Ouvertüre zeugt jedoch von einem gut durchdachten Aufbau.

Jacques Offenbach est né en Allemagne en 1819. Sa famille s’installe Paris alors qu’il est encore adolescent et c’est l qu’il passe la plus grande partie de sa vie. Il devient particulièrement célèbre pour la composition de nombreuses opérettes et d’un opéra légendaire, Les Contes d’Hoffmann. Ses opéras-bouffes (ou « musiquettes ») s’inspirent souvent de livrets comiques ou satiriques. Il parodie la vie quotidienne Paris, se moque des dignitaires, de l’armée, de la prétention du grand opéra, et ainsi de suite. cet égard, les œuvres d’Offenbach ne sont pas vraiment comparables aux opérettes de ses contemporains germanophones tels que Franz Lehár ou encoreJohann Strauss le jeune. Musicalement parlant, on peut dire que les opéras-bouffes d’Offenbach sont entraînants, spirituels, mélodieux et mémorables.Jacques Offenbach s’est inspiré de la mythologie pour composer La Belle Hélène, dont le livret brosse l’histoire d’Hélène de Troie. Mais parodiant l’une des légendes grecques des plus illustres, cette opérette se veut être une satire sur l’élite de l’époque.L†™ouverture de La Belle Hélène a toujours été très populaire. Offenbach y glisse plusieurs arias et chœurs repris ensuite dans l’un ou l’autre acte de l’opérette, afin d’en offrir un avant-go t l’auditoire. De nombreux compositeurs écrivirent par la suite des ouvertures de canevas identique. Bien qu’un grand nombre d’entre elles manquent d’unité et de structure, l’ouverture de La Belle Hélène en est une exception notoire.

Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compositions for Concert Band/Catalogue Master Works Vol. 1. Molenaar Masterpieces. Recorded on The Seven Wonders of the Ancient World (ML.311080720). Full set. Duration 20 minutes, 58 seconds. Published by Molenaar Edition (ML.012792100).

the music of Robert W. Smith (featuring The Washington Winds conducted by Edward Petersen). Concert Band Recording. CD. Published by Alfred Publishing.