Par SCHUBERT FRANZ. Nur wenigen ist bekannt, dass Franz Schubert sich jahrelang mit dem Komponieren von Opern und Theatermusik beschäftigt war. Insgesamt schrieb er nicht weniger als zehn vollständige Werke fürs Theater. Schubert hofft stets aus eine erfolgreiche Oper oder Theaterproduktion, die allerdings ausblieb. Dies lag wahrscheinlich hauptsächlich an den mittelmäßigen Libretti, die er zur Verfügung hatte. Der Musik, die er für das Theaterstück 'Rosamunde, Fürstin von Zypern' schrieb ging es nicht anders. Im Oktober 1823 bekam Schubert den Auftrag, die Theatermusik zum Libretto von Helmina von Chézy zu schreiben. Obwohl er das Libretto erst im November erhielt, gelang es Ihm dennoch die neunNummern von Rosamunde in nur drei Wochen zu verfassen. Nach einigen Proben ging das Stück am 20. Dezember 1823 in Premiere am 'Theater an der Wien'. Die verwirrende Geschichte - ein Durcheinander von romantischen Intrigen zwischen Prinzessinnen, Hirten und Jägern - konnte das Publikum allerdings nicht begeistern. 'Nichtssagend, ermüdend und unnatürlich', so lautete der Kommentar eines Kritikers. Es folgte auch nur eine Wiederholung und danach verschwand das Stück von der Bühne. Im Gegensatz zu der harten Kritik über das Libretto waren das Publikum und die meisten Kritiker sehr begeistert über die Musik Schuberts. Auch heute noch gilt Rosamunde als eines seiner bekanntesten Orchesterwerke, das hier durch das Arrangement Tohru Takahashi auch für Blasorchester zugänglich wurde. / Niveau : 4 / Ouverture / Répertoire / Concert Band ou Harmonie

Opus 52 No. 6. Par SCHUBERT FRANZ. Publié à l’origine sous le titre d’ Ellens dritter Gesang ( Le troisième chant d'Ellen ), l’ Ave Maria de Schubert constitue le sixième lied du cycle Das Fräulein vom See, basé sur le poème de Sir Walter Scott, The Lady of the Lake ('La Dame du Lac'). Au fil du temps, le texte en allemand fut délaissé au profit de la prière en latin. Dans cet arrangement signé Robert van Beringen, le pupitre des trompettes (ou la trompette solo) joue la ligne mélodique qui plane au-dessus d’un accompagnement céleste. / Niveau : 2.5 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Arr. James Curnow. Par SCHUBERT FRANZ. Franz Schubert (1797-1828), great Austrian composer, was a supreme melodist and master of lieder. This transcription is based on his Sanctus (Holy, Holy, Holy) from his German Mass in F. (ca. 1815) for four-part choir and lends itself well to the expressive qualities of the modern brass quintet. / Niveau : 3 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Arr. Douglas Court. Par SCHUBERT FRANZ. / Niveau : 1 / Répertoire / Concert Band

Death and the Maiden [from String Quartet No. 14]. Par SCHUBERT FRANZ. / Niveau : 1.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie