Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-140
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Score Only. Composed
2021. 28 pages. Anglo
Music Press #AMP 494-140.
Published by Anglo Music
Press (BT.AMP-494-140).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
March of the Robot Army Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-010
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Set (Score & Parts).
Composed 2021. Anglo
Music Press #AMP 494-010.
Published by Anglo Music
Press (BT.AMP-494-010).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compo...(+)
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).
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Rising into a New Era Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.4008967 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4
SKU:
HL.4008967
Concert
Band, Grade 4 9:30 Score
and Parts. Composed
by Hermann Pallhuber.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 570
seconds. Hal Leonard
#SDP267-24-02. Published
by Hal Leonard
(HL.4008967).
UPC:
196288282167.
“Ri
sing into a New Era”
was commissioned by the
city of Landeck in 2023
to commemorate its 100th
anniversary since being
declared a city. The
composition serves as the
introductory part of a
trilogy, encapsulating
the years from 1923 to
1956, depicting Landeck's
transformation from a
market town to a city.
The outset of the piece
is characterized by a
reserved and hushed
atmosphere, reflecting
the initial uncertainty
during a period of
economic challenges. The
optimistic anticipation
of a new beginning is
only echoed by the sound
of the city's new bells.
The central motif,
threading throughout the
entire composition, is
derived from the name of
the city: LAnDECk
(A-D-E-C). This motif
unfolds at the onset
within the resonance of
the city's bells,
gradually evolving into
the main theme through
the gentle tones of the
clarinets. Following the
initial years of the
burgeoning city, where a
positive societal shift
and newfound security are
symbolized by a second
musical theme, the sudden
eruption of the Second
World War disrupts this
progress. A mournful
melody, borrowed from the
cheerful second theme of
the piece, speaks of
sorrow, nostalgia, yet
also solace and hope for
peace and freedom. A
“Vivace furioso”
captures the
uncertainties and intense
turbulence of the war.
These tumultuous emotions
gradually settle,
culminating after a
delicate oboe and
saxophone solo into the
now powerful main theme
presented in the form of
a majestic chorale. A
“Vivace con bravura”
brings the composition to
a radiant conclusion,
signifying a strengthened
future for the city of
Landeck.
Concert
Band, Grade 4 9:30
Score. Composed by
Hermann Pallhuber.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 570
seconds. Hal Leonard
#SDP267-24-01. Published
by Hal Leonard
(HL.4008968).
UPC:
196288282174.
“Ri
sing into a New Era”
was commissioned by the
city of Landeck in 2023
to commemorate its 100th
anniversary since being
declared a city. The
composition serves as the
introductory part of a
trilogy, encapsulating
the years from 1923 to
1956, depicting Landeck's
transformation from a
market town to a city.
The outset of the piece
is characterized by a
reserved and hushed
atmosphere, reflecting
the initial uncertainty
during a period of
economic challenges. The
optimistic anticipation
of a new beginning is
only echoed by the sound
of the city's new bells.
The central motif,
threading throughout the
entire composition, is
derived from the name of
the city: LAnDECk
(A-D-E-C). This motif
unfolds at the onset
within the resonance of
the city's bells,
gradually evolving into
the main theme through
the gentle tones of the
clarinets. Following the
initial years of the
burgeoning city, where a
positive societal shift
and newfound security are
symbolized by a second
musical theme, the sudden
eruption of the Second
World War disrupts this
progress. A mournful
melody, borrowed from the
cheerful second theme of
the piece, speaks of
sorrow, nostalgia, yet
also solace and hope for
peace and freedom. A
“Vivace furioso”
captures the
uncertainties and intense
turbulence of the war.
These tumultuous emotions
gradually settle,
culminating after a
delicate oboe and
saxophone solo into the
now powerful main theme
presented in the form of
a majestic chorale. A
“Vivace con bravura”
brings the composition to
a radiant conclusion,
signifying a strengthened
future for the city of
Landeck.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 9:00. Published
by Manhattan Beach Music.
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor Full Score.
Duration 9:00
Composed by Alex Poelman. For concert band. Catalogue New Band Music Vol. ...(+)
Composed by Alex Poelman.
For concert band.
Catalogue
New Band Music Vol.
13/Original
Compositions/Countries.
Molenaar Original
Compositions. Recorded on
Dance of the Selkies
(ML.311123720). Grade 4.
Full set. Duration 9
minutes, 26 seconds.
Published by Molenaar
Edition
Smithsonian Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant FJH
By Brian Balmages. Beginning Band. FJH Beginning Band. Full set (score and parts...(+)
By Brian Balmages.
Beginning Band. FJH
Beginning Band. Full set
(score and parts). Score
only also available: S.
Concert Band. Level:
Grade 1. Score and Set of
Parts. Composed 2003.
Published by The FJH
Music Company Inc.
Hungarian Dances Nos.
5 & 6. Composed by
Johannes Brahms. Arranged
by Tohru Takahashi. Great
Classics. Transcription.
Score Only. Composed
2010. 36 pages. De Haske
Publications #DHP
1114946-140. Published by
De Haske Publications
(BT.DHP-1114946-140).
9x12 inches.
English-German-French-Dut
ch.
Fascinated by
the expressive power and
spirit of the gypsy music
from Hungary, Brahms used
mainly traditional
melodies in his Hungarian
Dances as well as themes
from compositions in
similar musical styles.
No. 5 and No. 6 are the
most well-known of his
Hungarian Dances and are
popular as encores at the
New Year’s Concert
of the Vienna
Philharmonic.
Fasziniert von
der Ausdruckskraft und
Lebendigkeit der
Zigeunermusik“ aus
Ungarn, verwendete Brahms
für die meisten
seiner Ungarischen
Tänze traditionelle
Melodien und Themen aus
Kompositionen in diesem
Stil. Besonders die
Tänze Nr. 5 und Nr. 6
sind heute noch weit
über die Grenzen
der klassischen Musik
hinaus bekannt und
beliebte Zugabenummern
bei den Neujahrskonzerten
der Wiener
Philharmoniker.
Aff
ascinato dal grande
potere espressivo e dallo
spirito della musica
gitana ungherese, nelle
Danze Ungheresi Brahms
utilizzò soprattutto
melodie tradizionali e
temi tratti da
composizioni scritte in
uno stile musicale
simile. La numero 5 e 6
sono le Danze Ungheresi
più note e sono spesso
eseguite come bis nel
Concerto di Capodanno dei
Wiener Philarmoniker.
Hungarian Dances Nos.
5 & 6. Composed by
Johannes Brahms. Arranged
by Tohru Takahashi. Great
Classics. Transcription.
Set (Score & Parts).
Composed 2010. De Haske
Publications #DHP
1114946-010. Published by
De Haske Publications
(BT.DHP-1114946-010).
9x12 inches.
English-German-French-Dut
ch.
Fascinated by
the expressive power and
spirit of the gypsy music
from Hungary, Brahms used
mainly traditional
melodies in his Hungarian
Dances as well as themes
from compositions in
similar musical styles.
No. 5 and No. 6 are the
most well-known of his
Hungarian Dances and are
popular as encores at the
New Year’s Concert
of the Vienna
Philharmonic.
Fasziniert von
der Ausdruckskraft und
Lebendigkeit der
Zigeunermusik“ aus
Ungarn, verwendete Brahms
für die meisten
seiner Ungarischen
Tänze traditionelle
Melodien und Themen aus
Kompositionen in diesem
Stil. Besonders die
Tänze Nr. 5 und Nr. 6
sind heute noch weit
über die Grenzen
der klassischen Musik
hinaus bekannt und
beliebte Zugabenummern
bei den Neujahrskonzerten
der Wiener
Philharmoniker.
Aff
ascinato dal grande
potere espressivo e dallo
spirito della musica
gitana ungherese, nelle
Danze Ungheresi Brahms
utilizzò soprattutto
melodie tradizionali e
temi tratti da
composizioni scritte in
uno stile musicale
simile. La numero 5 e 6
sono le Danze Ungheresi
più note e sono spesso
eseguite come bis nel
Concerto di Capodanno dei
Wiener Philarmoniker.
Odysseus and the Sirens Orchestre d'harmonie [Conducteur et Parties séparées] American Composers Forum
Commissioned by American Composers Forum. Composed by Dana Wilson. Score and ful...(+)
Commissioned by American
Composers Forum. Composed
by Dana Wilson. Score and
full set of parts.
BandQuest. Concert.
Published by American
Composers Forum
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135483-010 Great Classics. S...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135483-010
Great Classics. Set
(Score & Parts). Composed
2013. De Haske
Publications #DHP
1135483-010. Published by
De Haske Publications
(BT.DHP-1135483-010).
9x12 inches.
English-German-French-Dut
ch.
Geschichten
aus dem Wienerwald
(Tales from the Vienna
Woods) is an iconic
Viennese composition and
is regularly performed by
the Vienna Philharmonic
at the New Year’s
Concert. As with the
original, the arrangement
includes a zither part,
whichin this arrangement
can be played either by
double reeds or by
saxophones.
Ges
chichten aus dem
Wienerwald (Verhalen uit
het Weense woud) is
een icoon van de Weense
muziek, het werk wordt
geregeld uitgevoerd
tijdens de
nieuwjaarsconcerten van
de Wiener Philharmoniker.
In deze bewerking komt,
net als in het
origineel,de citer aan
bod, maar de citerpartij
kan ook worden gespeeld
door een dubbelriet- of
saxofoonensemble.
Geschichten aus dem
Wienerwald ist ein
Wahrzeichen Wiener Musik
und wird regelmäßig
beim Neujahrskonzert der
Wiener Philharmoniker
gespielt. Dem Original
entsprechend, enthält
das Set eine
Zitherstimme, die durch
Doppelrohrblasinstrumente
oder Saxophone ersetzt
werden
kann.
Ges
chichten aus dem
Wienerwald è
un’icona della
musica viennese e viene
eseguita regolarmente
durante il concerto di
capodanno dalla
Filarmonica di Vienna.
Seguendo
l’originale,
l’arrangiamento di
Tohru Takahashi presenta
anche una parte percetra
che può essere
sostituita da strumenti
ad ancia doppia o dai
sax.
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135483-140 Great Classics. S...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135483-140
Great Classics. Score
Only. Composed 2013. 68
pages. De Haske
Publications #DHP
1135483-140. Published by
De Haske Publications
(BT.DHP-1135483-140).
9x12 inches.
English-German-French-Dut
ch.
Geschichten
aus dem Wienerwald
(Tales from the Vienna
Woods), composed by
Johann Strauss II in
1868, is a patriotic
masterpiece that praises
the beauty of the Vienna
Woods. This icon of
Viennese music is
frequently performed at
the New Year’s
Concert given by the
Vienna Philharmonic
Orchestra. Geschichten
aus dem Wienerwald
features the zither, a
musical instrument native
to Austria and its
neighbours. If no zither
is available, a double
reed ensemble or
saxophone ensemble can be
substituted in this band
transcription.
Geschichten aus dem
Wienerwald (Verhalen
uit het Weense woud), een
vaderlandslievend
meesterwerk dat in 1868
werd gecomponeerd door
Johann Strauss jr.,
prijst de schoonheid van
het Wienerwald: een rijk
bebost gebied dat zich
uitstrekt over de
Oostenrijkse deelstaten
Neder-Oostenrijk
(Niederösterreich) en
Wenen. Dit icoon van de
Weense muziek wordt
geregeld uitgevoerd
tijdens de
nieuwjaarsconcerten die
worden gegeven door de
Wiener Philharmoniker.In
Geschichten aus dem
Wienerwald komt ook
de citer aan bod, een
muziekinstrument dat in
Oostenrijk en de
omringende landen veel
voorkomt in de
volksmuziek. Als er geen
citer beschikbaar is, kan
de partij indeze
transcriptie voor
blaasorkest ook worden
gespeeld door een
dubbelriet- of
saxofoonensemble.
GESCHICHTEN AUS
DEM WIENERWALD (Tales
from the Vienna Woods)
aus der Feder von Johann
Strauss (Sohn) im Jahre
1868 ist ein
patriotisches
Meisterwerk, das die
Schönheit des
Wienerwaldes preist.
Dieses Wahrzeichen Wiener
Musik wird
regelmäßig
beimNeujahrskonzert der
Wiener Philharmoniker
gespielt.
In
GESCHICHTEN AUS DEM
WIENERWALD spielt die
Zither, ein Instrument,
das aus Österreich
und dessen
Nachbarländern stammt,
eine hervorgehobene
Rolle. Blasorchester, die
keine Zither zur
Verfügung haben,
können sie in dieser
Transkription durch
einEnsemble aus
Doppelrohrblattinstrument
en oder Saxophonen
ersetzen.
Concert Band; Orchestra
2.2.2.2: 2.2.3.1: Timp:
Str (9-8-7-6-5 in set)
SKU: AP.36-A171502
Composed by Felix
Bartholdy Mendelssohn.
Full Orchestra, Conductor
Score and Parts. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A171502.
Published by
LudwigMasters
Publications
(AP.36-A171502).
UPC:
659359994098.
English.
In 1840,
the King of Prussia
invited Felix Mendelssohn
(1809-1847) to accept a
lofty musical appointment
in the French Academie
Royale. A few years
later, Wilhelm IV
commissioned the composer
to write incidental music
to a religious drama by
Jean Racine, ATHALIE,
based on the queen of
Judah during Jehoram's
reign. It was intended
for a private performance
on December 1, 1845 and
saw its first public
performance on January
8th of the following
year. WAR MARCH OF THE
PRIESTS, a brief excerpt
taken from the work, is
sometimes heard during
graduation ceremonies.
Reprint edition.
Instrumentation: 2.2.2.2:
2.2.3.1: Timp: 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.
Concert Band; Orchestra
2.2.2.2: 2.2.3.1: Timp:
Str (9-8-7-6-5 in set)
SKU: AP.36-A171501
Composed by Felix
Bartholdy Mendelssohn.
Full Orchestra, Conductor
Score. Kalmus Orchestra
Library. Score.
LudwigMasters
Publications #36-A171501.
Published by
LudwigMasters
Publications
(AP.36-A171501).
ISBN
9798892702669. UPC:
659359839108.
English.
In 1840,
the King of Prussia
invited Felix Mendelssohn
(1809-1847) to accept a
lofty musical appointment
in the French Academie
Royale. A few years
later, Wilhelm IV
commissioned the composer
to write incidental music
to a religious drama by
Jean Racine, ATHALIE,
based on the queen of
Judah during Jehoram's
reign. It was intended
for a private performance
on December 1, 1845 and
saw its first public
performance on January
8th of the following
year. WAR MARCH OF THE
PRIESTS, a brief excerpt
taken from the work, is
sometimes heard during
graduation ceremonies.
Reprint edition.
Instrumentation: 2.2.2.2:
2.2.3.1: Timp: 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.
Concert Band - Grade 3.5 SKU: AP.48207S Featuring: 29 Neibolt Street (...(+)
Concert Band - Grade 3.5
SKU: AP.48207S
Featuring: 29 Neibolt
Street (from IT) / Hello
Zepp (Theme from Saw) /
Sidney's Lament (from
Scream) / Halloween
Theme. Composed by
Various. Arranged by
Justin Williams. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Concert Band. Form:
Medley. Halloween; Movie.
Score. 32 pages. Duration
5:30. Alfred Music
#00-48207S. Published by
Alfred Music (AP.48207S).
ISBN 9781470654771.
UPC: 038081559018.
English.
The newest
installment of the At the
Movies series showcases
selections from IT, Saw,
Scream, and Halloween.
With shocking twists and
turns throughout the
duration of the piece, it
is certainly recommended
that audiences create a
film from their own
imaginations! Suitable
all year but perfect for
Halloween. Lock the doors
and leave the lights on
for this classic fright
night! (5:30).
Concert Band - Grade 3.5 SKU: AP.48207 Featuring: 29 Neibolt Street (f...(+)
Concert Band - Grade 3.5
SKU: AP.48207
Featuring: 29 Neibolt
Street (from IT) / Hello
Zepp (Theme from Saw) /
Sidney's Lament (from
Scream) / Halloween
Theme. Composed by
Various. Arranged by
Justin Williams. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Concert Band. Form:
Medley. Halloween; Movie.
Score and Part(s). 264
pages. Duration 5:30.
Alfred Music #00-48207.
Published by Alfred Music
(AP.48207).
ISBN
9781470654764. UPC:
038081559001.
English.
The newest
installment of the At the
Movies series showcases
selections from IT, Saw,
Scream, and Halloween.
With shocking twists and
turns throughout the
duration of the piece, it
is certainly recommended
that audiences create a
film from their own
imaginations! Suitable
all year but perfect for
Halloween. Lock the doors
and leave the lights on
for this classic fright
night! (5:30).
Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
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.
Achnaton Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-010 Composed by Jan Bo...(+)
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.
Concert
Band, Grade 5 10:27
Score. Composed by
Georges Sadeler.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 627
seconds. Hal Leonard
#SDP259-24-01. Published
by Hal Leonard
(HL.4008964).
UPC:
196288282136.
“Th
e Old Fortress of
Luxembourg” is a
commissioned work by the
Luxembourg Ministry of
Culture for the overture
of the official ceremony
of Luxembourg's National
Day. The piece is less
concerned with history,
but rather draws
inspiration from the
architecture of the
ancient fortress of
Luxembourg, known as
“Lucilinburhuc.” The
fortress, over 1000 years
old and also referred to
as the “Gibraltar of
the North,” primarily
consists today of the
Bock Rock, the crypt, the
casemates (an underground
defense system consisting
of kilometers of
tunnels), and the Holy
Spirit Citadel. These
elements are portrayed
through radiant fanfare
sounds, rhythmic
orchestral movements,
patriotic choral
melodies, and at times,
somber musical
depictions. As an
optional highlight, a
choir, supported by a
boys' choir, interprets
the newly composed text
of the third verse of the
Luxembourgish National
Anthem, adding an
additional touch of
patriotic grandeur to
this piece.
Panther Rising Orchestre d'harmonie - Débutant Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 1 SKU: HL.4005834 Co...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 1
SKU:
HL.4005834
Composed
by Michael Sweeney. First
Concepts (Concert Band).
Concert. Softcover.
Duration 165 seconds.
Published by Hal Leonard
(HL.4005834).
ISBN
9781540047632. UPC:
888680922511.
9.0x12.0x0.389
inches.
Panther
Rising was composed in
celebration of a new
school whose mascot is
the Panther. Skillfully
designed for first-year
players, this driving and
energetic piece features
an intense attitude with
interesting parts for all
sections. Dur: 2:10.
Panther Rising Orchestre d'harmonie - Débutant Hal Leonard
Concert Band (Score) - beginning SKU: HL.4005835 Composed by Michael Swee...(+)
Concert Band (Score) -
beginning
SKU:
HL.4005835
Composed
by Michael Sweeney. First
Concepts (Concert Band).
Concert. Softcover. 16
pages. Duration 165
seconds. Published by Hal
Leonard (HL.4005835).
UPC: 888680922528.
9.0x12.0x0.025
inches.
Panther
Rising was composed in
celebration of a new
school whose mascot is
the Panther. Skillfully
designed for first-year
players, this driving and
energetic piece features
an intense attitude with
interesting parts for all
sections. Dur: 2:10.
Concert band - Grade 3 SKU: CL.012-4240-75 Composed by Robert W. Smith. C...(+)
Concert band - Grade 3
SKU:
CL.012-4240-75
Composed by Robert W.
Smith. Concert Band.
Concert Band Series.
Audio recording available
separately (item
CL.WFR379). Oversized,
spiral-bound score.
Composed 2013. Duration 4
minutes, 16 seconds. Opus
III Wind Orchestra
Publications
#012-4240-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4240-75).
It's 1897 in
New York City. A young
girl writes to the editor
of the New York Sun
questioning the existence
of Santa Claus. The
classic editorial
response Yes, Virginia
has charmed generations
of families during the
yuletide season. Robert
W. Smith has set this
inspiring text to music
for performance at any
holiday concert.
Featuring a narrator, the
band setting includes
holiday favorites that
bring these famous words
to life. Why not ask your
principal or
superintendent to perform
with the band this year?
Suitable for performance
by ensembles at many
levels, Yes, Virginia
reminds us all of the
wonders of the holiday
season as seen through a
child's eyes!
Concert band - Grade 3 SKU: CL.012-4240-01 Composed by Robert W. Smith. C...(+)
Concert band - Grade 3
SKU:
CL.012-4240-01
Composed by Robert W.
Smith. Concert Band.
Concert Band Series.
Audio recording available
separately (item
CL.WFR379). Extra full
score. Composed 2013.
Duration 4 minutes, 16
seconds. Opus III Wind
Orchestra Publications
#012-4240-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4240-01).
It's 1897 in
New York City. A young
girl writes to the editor
of the New York Sun
questioning the existence
of Santa Claus. The
classic editorial
response Yes, Virginia
has charmed generations
of families during the
yuletide season. Robert
W. Smith has set this
inspiring text to music
for performance at any
holiday concert.
Featuring a narrator, the
band setting includes
holiday favorites that
bring these famous words
to life. Why not ask your
principal or
superintendent to perform
with the band this year?
Suitable for performance
by ensembles at many
levels, Yes, Virginia
reminds us all of the
wonders of the holiday
season as seen through a
child's eyes!
A Shaker Gift Song Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Grade 2. Conductor
score and set of parts.
Duration 2:15. Published
by Manhattan Beach Music