Concert band concert band SKU: BC.43624 Composed by Frank Erikson. Band M...(+)
Concert band concert band
SKU: BC.43624
Composed by Frank
Erikson. Band Music. Four
Styles for Band (Melody /
Rhythm / Harmony /
Counterpoint). Full
Score. Published by
Bourne Music (BC.43624).
Concert band concert band SKU: BC.43622 Composed by Frank Erikson. Band M...(+)
Concert band concert band
SKU: BC.43622
Composed by Frank
Erikson. Band Music. Four
Styles for Band (Melody /
Rhythm / Harmony /
Counterpoint).
Conductor's Score.
Published by Bourne Music
(BC.43622).
Composed by Philip
Sparke. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.S11067).
This overture
is yet more proof of
Philip Sparke's ability
to contribute serious
band literature which
also has definite
audience appeal. A
fanfare opening followed
by the sonorous full band
leads to a lively tuneful
allegro. This is
developed - with the
occasional change of
meter to refresh the ear
- before the fanfare
returns, cleverly
counterpointed against
the music from the
quicker section.
A
fanfare opening followed
by the sonorous full band
leads to a lively tuneful
allegro. This is
developed - with the
occasional change of
meter to refresh the ear
- before the fanfare
returns, cleverly
counterpointed against
the music from the
quicker section. This
overture is yet more
proof of Philip Sparke's
ability to contribute
serious band literature
which also has definite
audience appeal.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094734-010.
Published by De Haske
Publications
(BT.DHP-1094734-010).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2009. 40
pages. De Haske
Publications #DHP
1094734-140. Published by
De Haske Publications
(BT.DHP-1094734-140).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
