Movement II -
'Sundowner'. Composed
by Paul Basler. Carl
Fischer Concert
Performance Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #CPS97F.
Published by Carl Fischer
Music (CF.CPS97F).
ISBN 9780825870613.
UPC:
798408070618.
Sundo
wner, the second movement
to Ngoma za Kenya, is a
quiet interlude,
depicting that time of
the day when one relaxes
under a favorite tree,
sipping a drink, having a
bite to eat and talking
with friends while the
sun goes down over the
African savannah.
Composer Paul Basler uses
a wide array of harmonic
shifts and colors in this
musically satisfying
piece.
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1043551-140 I. The Vision ...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1043551-140
I. The Vision - II.
The Creation.
Composed by Jacob De
Haan. Sovereign Series.
Concert Piece. Score
Only. Composed 2004. De
Haske Publications #DHP
1043551-140. Published by
De Haske Publications
(BT.DHP-1043551-140).
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
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,â€
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.â€
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.
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Sleep, My Child Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465.
A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam....(+)
Band Concert Band - Grade
2
SKU: CF.YPS200
Composed by Matthew R.
Putnam. Young Band (YPS).
Set of Score and Parts.
With Standard notation.
8+2+4+2+2+5+2+2+4+4+6+3+3
+2+1+3+16+4+4+2+2 pages.
Duration 2:15. Carl
Fischer Music #YPS200.
Published by Carl Fischer
Music (CF.YPS200).
ISBN 9781491152201.
UPC: 680160909704. Key: D
minor.
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam...(+)
Band Concert Band - Grade
2
SKU: CF.YPS200F
Composed by Matthew R.
Putnam. Young Band (YPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS200F.
Published by Carl Fischer
Music (CF.YPS200F).
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660).
ISBN
9781598063578. UPC:
680160601899. 9x12
inches.
Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
A Merry Christmas Party Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1196174-010 Arranged by Sim...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1196174-010
Arranged by Simon
Fahnholz. DHP Pop, Film
and Show. Christmas. Set
(Score & Parts). Composed
2019. De Haske
Publications #DHP
1196174-010. Published by
De Haske Publications
(BT.DHP-1196174-010).
When Christmas
is coming, a nice medley
should always be in your
programme. This
accessible medley by
Simon Fahnholz includes
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ and
‘Thank God
It’s
Christmas’. A nice
alternative to the usual
Christmas anthems!
Als Kerstmis weer
in aantocht is, hoort er
natuurlijk weer een
fraaie medley op uw
programma te staan. Deze
toegankelijke potpourri
van Simon Fahnholz omvat
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ en
‘Thank God
It’s
Christmas’. Een
fijn alternatief voor de
gebruikelijke
kersttoppers!
Für
Weihnachten sollte man
immer ein schönes
Medley im Programm haben.
Dieses ansprechende
Medley von Simon Fahnholz
beinhaltet All I Want for
Christmas Is You“,
Christmas Time“,
Feliz Navidad“ und
Thank God It’s
Christmas“. Eine
schöne Alternative zu
den üblichen
Weihnachtsliedern!
Dovreste sempre
avere nel vostro
repertorio un bel medley
quando arriva il Natale.
Il medley di Simon
Fahnholz include: All I
Want for Christmas Is
You, Christmas Time,
Feliz Navidad e Thank God
It's Christmas. Una bella
alternativa ai soliti
canti natalizi!
Loch Lomond Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire 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. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:30. Published
by Manhattan Beach Music.
Loch Lomond Orchestre d'harmonie [Conducteur] - Intermédiaire 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. Level:
Grade 3. Conductor Full
Score. Duration 6:30.
Published by Manhattan
Beach Music.
Towards the Future Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1124756-140 Composed by Hay...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1124756-140
Composed by Hayato
Hirose. Brilliant
Marches. Concert March.
Score Only. Composed
2012. 20 pages. De Haske
Publications #DHP
1124756-140. Published by
De Haske Publications
(BT.DHP-1124756-140).
9x12 inches.
English-German-French-Dut
ch.
Towards the
Future was
commissioned by the
Nagoya City Fire Bureau
for the 50th anniversary
of the Nagoya City Fire
Bureau Band (Nagoya,
Japan). It was premiered
by the band on 7 February
2009, conducted by Masuo
Nakamura. This concert
march was conceived to
lift up the spirits of
the firemen who save
people’s lives.
The solemn and
heart-warming melodies
express their braveness
when faced with danger
and the tenderness shown
towards the people they
protect.It is an ideal
march to open a concert
and to inspire both
performers and
audience.
Towar
ds the Future is
geschreven in opdracht
van de Nagoya City Fire
Bureau Band (Nagoya,
Japan) ter gelegenheid
van het vijftigjarig
bestaan van het orkest.
Het werk is tot stand
gekomen met financiële
steun van het NagoyaCity
Fire Bureau. De
première vond op 7
februari 2009 plaats
onder leiding van Masuo
Nakamura.Deze concertmars
is gecomponeerd met de
intentie om de
brandweerlieden, die
telkens weer het leven
van burgers redden, een
hart onder deriem te
steken. De plechtige en
hartverwarmende
melodieën verklanken
moed in gevaarlijke
omstandigheden en de
toewijding aan de mensen
die worden beschermd.De
mars is ideaal om een
concert mee te openen en
zowel muzikanten als
publiekin de stemming te
brengen.
Toward
s the Futurewurde von
der Nagoya City Bureau
Band (Blasorchester der
Städtischen Feuerwehr
Nagoya, Japan) in Auftrag
gegeben. Anlass zu diesem
von der Städtischen
Feuerwehr Nagoya
unterstützten Werk war
das 150-jährige
Jubiläum dieses
Orchesters, welches am
7.Februar 2009 unter der
Leitung von Masuo
Nakamura die
Uraufführung
spielte.Dieser
Konzertmarsch wurde zur
Ermutigung der
Feuerwehrleute
geschrieben, die
Menschenleben retten. Die
feierlichen,
herzergreifenden Melodien
beschreiben den Mut der
Feuerwehrleute, den sie
im Angesicht von Gefahr
beweisen, und ihre
Fürsorglichkeit
gegenüber den
Menschen, die sie
beschützen.Mit diesem
Marsch kann man sehr
gutein Konzert
eröffnen und die
Stimmung von Musikern als
auch Zuhörenden heben.
Questa
marcia da concerto è
stata composta in onore,
ma anche per incoraggiare
e sostenere i vigili del
fuoco che salvano le vite
dei cittadini, spesso
mettendo a rischio la
propria incolumit . Le
melodie solenni e
commoventi al contempo
descrivono il coraggio di
questi uomini davanti al
pericolo e vogliono
sottolineare la tenerezza
e la dedizione nei
confronti delle persone
che sono chiamati a
salvare.
Towards the Future Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1124756-010 Composed by Hay...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1124756-010
Composed by Hayato
Hirose. Brilliant
Marches. Concert March.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1124756-010. Published by
De Haske Publications
(BT.DHP-1124756-010).
9x12 inches.
English-German-French-Dut
ch.
Towards the
Future was
commissioned by the
Nagoya City Fire Bureau
for the 50th anniversary
of the Nagoya City Fire
Bureau Band (Nagoya,
Japan). It was premiered
by the band on 7 February
2009, conducted by Masuo
Nakamura. This concert
march was conceived to
lift up the spirits of
the firemen who save
people’s lives.
The solemn and
heart-warming melodies
express their braveness
when faced with danger
and the tenderness shown
towards the people they
protect.It is an ideal
march to open a concert
and to inspire both
performers and
audience.
Towar
ds the Future is
geschreven in opdracht
van de Nagoya City Fire
Bureau Band (Nagoya,
Japan) ter gelegenheid
van het vijftigjarig
bestaan van het orkest.
Het werk is tot stand
gekomen met financiële
steun van het NagoyaCity
Fire Bureau. De
première vond op 7
februari 2009 plaats
onder leiding van Masuo
Nakamura.Deze concertmars
is gecomponeerd met de
intentie om de
brandweerlieden, die
telkens weer het leven
van burgers redden, een
hart onder deriem te
steken. De plechtige en
hartverwarmende
melodieën verklanken
moed in gevaarlijke
omstandigheden en de
toewijding aan de mensen
die worden beschermd.De
mars is ideaal om een
concert mee te openen en
zowel muzikanten als
publiekin de stemming te
brengen.
Toward
s the Futurewurde von
der Nagoya City Bureau
Band (Blasorchester der
Städtischen Feuerwehr
Nagoya, Japan) in Auftrag
gegeben. Anlass zu diesem
von der Städtischen
Feuerwehr Nagoya
unterstützten Werk war
das 150-jährige
Jubiläum dieses
Orchesters, welches am
7.Februar 2009 unter der
Leitung von Masuo
Nakamura die
Uraufführung
spielte.Dieser
Konzertmarsch wurde zur
Ermutigung der
Feuerwehrleute
geschrieben, die
Menschenleben retten. Die
feierlichen,
herzergreifenden Melodien
beschreiben den Mut der
Feuerwehrleute, den sie
im Angesicht von Gefahr
beweisen, und ihre
Fürsorglichkeit
gegenüber den
Menschen, die sie
beschützen.Mit diesem
Marsch kann man sehr
gutein Konzert
eröffnen und die
Stimmung von Musikern als
auch Zuhörenden heben.
Questa
marcia da concerto è
stata composta in onore,
ma anche per incoraggiare
e sostenere i vigili del
fuoco che salvano le vite
dei cittadini, spesso
mettendo a rischio la
propria incolumit . Le
melodie solenni e
commoventi al contempo
descrivono il coraggio di
questi uomini davanti al
pericolo e vogliono
sottolineare la tenerezza
e la dedizione nei
confronti delle persone
che sono chiamati a
salvare.
Colors of Time Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1104865-140 Les couleurs d...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1104865-140
Les couleurs du
temps. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2010. 32 pages.
De Haske Publications
#DHP 1104865-140.
Published by De Haske
Publications
(BT.DHP-1104865-140).
9x12 inches.
English-German-French-Dut
ch.
Gazing into
life is like gazing at
the colours of passing
time. Sometimes cool and
mysterious, sometimes
opalescent, warm or
luminous, the colours of
time, like life itself,
are ever-changing. When
colour materialises, it
becomes music. With
delicate and powerful
moods, brilliant and
intimate textures, and
joyful and nostalgic
sounds, music seeps into
our memory like stories
drawn from many
individual real-life
experiences.
Het
leven beschouwen is alsof
je naar de kleuren van de
verglijdende tijd kijkt.
Die zijn soms koel en
mysterieus, soms
ondoorzichtig als opaal,
soms warm of licht: de
kleuren van de tijd zijn
altijd in beweging, net
als het leven. Kleuren
kun je ook weergeven in
muziek. Met delicate of
krachtige sfeerbeelden,
glansrijke of intieme
texturen, en vreugdevolle
of nostalgische klanken
glipt muziek ons geheugen
binnen als verhalen die
zijn gebaseerd op
ervaringen uit het echte
leven.
In diesem
Werk portraitiert Thierry
Deleruyelle das Leben und
die Zeit, die verrinnt,
nicht in realen Bildern,
sondern in Farben, die
ganz wunderbar
Gefühle,
Erinnerungen und
Stimmungen
auszudrücken
vermögen. Die Farben
wiederum materialisieren
sich hier in Musik, die
mit zarten und
kraftvollen Stimmungen,
brillanten und innigen
Gefügen sowie
freudevollen und
nostalgischen Klängen
ins Gedächtnis
sickert.
Osservare
la vita è come
osservare i colori del
tempo chepassa. A volte
freddi e misteriosi, a
volte opalescenti, caldi
e luminosi, i colori del
tempo, come la stessa
vita, sono in perenne
mutamento. Ignorando le
frontiere dell’et
, proteggendo i nostri
segreti, il loro potere
è nel fatto che essi
suscitano emozioni,
sensazioni e ricordi.
Quando i colori si
materializzano, nasce la
musica. Colors of Time
entra nella nostra
memoria come tante storie
create dal vissuto di
ognuno di noi.
Colors of Time Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1104865-010 Les couleurs d...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1104865-010
Les couleurs du
temps. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2010. De
Haske Publications #DHP
1104865-010. Published by
De Haske Publications
(BT.DHP-1104865-010).
9x12 inches.
English-German-French-Dut
ch.
Gazing into
life is like gazing at
the colours of passing
time. Sometimes cool and
mysterious, sometimes
opalescent, warm or
luminous, the colours of
time, like life itself,
are ever-changing. When
colour materialises, it
becomes music. With
delicate and powerful
moods, brilliant and
intimate textures, and
joyful and nostalgic
sounds, music seeps into
our memory like stories
drawn from many
individual real-life
experiences.
Het
leven beschouwen is alsof
je naar de kleuren van de
verglijdende tijd kijkt.
Die zijn soms koel en
mysterieus, soms
ondoorzichtig als opaal,
soms warm of licht: de
kleuren van de tijd zijn
altijd in beweging, net
als het leven. Kleuren
kun je ook weergeven in
muziek. Met delicate of
krachtige sfeerbeelden,
glansrijke of intieme
texturen, en vreugdevolle
of nostalgische klanken
glipt muziek ons geheugen
binnen als verhalen die
zijn gebaseerd op
ervaringen uit het echte
leven.
In diesem
Werk portraitiert Thierry
Deleruyelle das Leben und
die Zeit, die verrinnt,
nicht in realen Bildern,
sondern in Farben, die
ganz wunderbar
Gefühle,
Erinnerungen und
Stimmungen
auszudrücken
vermögen. Die Farben
wiederum materialisieren
sich hier in Musik, die
mit zarten und
kraftvollen Stimmungen,
brillanten und innigen
Gefügen sowie
freudevollen und
nostalgischen Klängen
ins Gedächtnis
sickert.
Osservare
la vita è come
osservare i colori del
tempo chepassa. A volte
freddi e misteriosi, a
volte opalescenti, caldi
e luminosi, i colori del
tempo, come la stessa
vita, sono in perenne
mutamento. Ignorando le
frontiere dell’et
, proteggendo i nostri
segreti, il loro potere
è nel fatto che essi
suscitano emozioni,
sensazioni e ricordi.
Quando i colori si
materializzano, nasce la
musica. Colors of Time
entra nella nostra
memoria come tante storie
create dal vissuto di
ognuno di noi.
A Merry Christmas Party Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1196174-140 Arranged by Sim...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1196174-140
Arranged by Simon
Fahnholz. DHP Pop, Film
and Show. Christmas.
Score Only. Composed
2019. 28 pages. De Haske
Publications #DHP
1196174-140. Published by
De Haske Publications
(BT.DHP-1196174-140).
When Christmas
is coming, a nice medley
should always be in your
programme. This
accessible medley by
Simon Fahnholz includes
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ and
‘Thank God
It’s
Christmas’. A nice
alternative to the usual
Christmas anthems!
Als Kerstmis weer
in aantocht is, hoort er
natuurlijk weer een
fraaie medley op uw
programma te staan. Deze
toegankelijke potpourri
van Simon Fahnholz omvat
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ en
‘Thank God
It’s
Christmas’. Een
fijn alternatief voor de
gebruikelijke
kersttoppers!
Für
Weihnachten sollte man
immer ein schönes
Medley im Programm haben.
Dieses ansprechende
Medley von Simon Fahnholz
beinhaltet All I Want for
Christmas Is You“,
Christmas Time“,
Feliz Navidad“ und
Thank God It’s
Christmas“. Eine
schöne Alternative zu
den üblichen
Weihnachtsliedern!
Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226).
ISBN
9781491152522. UPC:
680160910021.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F).
ISBN
9781491153208. UPC:
680160910700.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
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.
Trattamars Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125310-010 Composed by Matth...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125310-010
Composed by Matthias van
Nispen tot Pannerden.
Brilliant Marches. March.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1125310-010. Published by
De Haske Publications
(BT.DHP-1125310-010).
9x12 inches.
English-German-French-Dut
ch.
The
Trattamars (Tratta
March) was originally
written for ‘Il
trattamento
miracolo’, an
ensemble of five,
performing light-hearted
musical acts for the
young and the old. This
march is played when the
members of the group
appear on stage. The
Dutch composer of the
march, Matthias van
Nispen tot Pannerden,
studied classical
saxophone as well as band
conducting and
composition at the
Brabant Conservatory in
Tilburg. He is a baritone
saxophonist with the
Orkest van de Koninklijke
Luchtmacht (Band of the
Royal Netherlands Air
force). He is also active
as a freelance conductor
and composer.
De
Trattamars is
oorspronkelijk geschreven
voor ‘Il
trattamento
miracolo’, een
vijfkoppig ensemble dat
ludieke muzikale
voorstellingen maakt voor
jong en oud. Deze mars
weerklinkt als de leden
van het ensemble het
podium betreden.De
componist van de mars,
Matthias van Nispen tot
Pannerden, studeerde
klassiek saxofoon,
hafa-directie en
compositie aan het
Brabants conservatorium
in Tilburg. Momenteel is
hij werkzaam als
baritonsaxofonist bij het
Orkestvan de Koninklijke
Luchtmacht en is hij
freelance dirigent en
componist.
Der
Trattamarsch“ wurde
ursprünglich für
‘Il trattamento
miracolo’, einem
fünfköpfigen
Ensemble, das verspielte,
leichte musikalische
Aufführungen für
Jung und Alt macht,
geschrieben. Dieser
Marsch erklingt beim
Aufmarsch der Musiker auf
die Bühne. Mit dem
attraktiven Marsch des
niederländischen
Saxophonisten,
freischaffenden
Dirigenten und
Komponisten Matthias van
Nispen tot Pannerden
können sich die
verschiedenen
Instrumentengruppen Ihres
Ensembles wunderbar
präsentieren!
La
Trattamars è
stata originariamente
scritta per “Il
Trattamento
miracoloâ€, un
ensemble di cinque
elementi che hanno nel
loro repertorio musica
leggera apprezzata da
giovani e meno giovani.
Questa marcia viene
eseguita ogni qualvolta i
musicisti salgono sul
palco. Trattamars,
scritta da Matthias van
Nispen tot Pannerden,
sassofonista, compositore
e direttore olandese,
offre l’opportunit
ai diversi gruppi di
strumenti del vostro
ensemble di mettersi in
luce.
Trattamars Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125310-140 Composed by Matth...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125310-140
Composed by Matthias van
Nispen tot Pannerden.
Brilliant Marches. March.
Score Only. Composed
2012. 16 pages. De Haske
Publications #DHP
1125310-140. Published by
De Haske Publications
(BT.DHP-1125310-140).
9x12 inches.
English-German-French-Dut
ch.
The
Trattamars (Tratta
March) was originally
written for ‘Il
trattamento
miracolo’, an
ensemble of five,
performing light-hearted
musical acts for the
young and the old. This
march is played when the
members of the group
appear on stage. The
Dutch composer of the
march, Matthias van
Nispen tot Pannerden,
studied classical
saxophone as well as band
conducting and
composition at the
Brabant Conservatory in
Tilburg. He is a baritone
saxophonist with the
Orkest van de Koninklijke
Luchtmacht (Band of the
Royal Netherlands Air
force). He is also active
as a freelance conductor
and composer.
De
Trattamars is
oorspronkelijk geschreven
voor ‘Il
trattamento
miracolo’, een
vijfkoppig ensemble dat
ludieke muzikale
voorstellingen maakt voor
jong en oud. Deze mars
weerklinkt als de leden
van het ensemble het
podium betreden.De
componist van de mars,
Matthias van Nispen tot
Pannerden, studeerde
klassiek saxofoon,
hafa-directie en
compositie aan het
Brabants conservatorium
in Tilburg. Momenteel is
hij werkzaam als
baritonsaxofonist bij het
Orkestvan de Koninklijke
Luchtmacht en is hij
freelance dirigent en
componist.
Der
Trattamarsch“ wurde
ursprünglich für
‘Il trattamento
miracolo’, einem
fünfköpfigen
Ensemble, das verspielte,
leichte musikalische
Aufführungen für
Jung und Alt macht,
geschrieben. Dieser
Marsch erklingt beim
Aufmarsch der Musiker auf
die Bühne. Mit dem
attraktiven Marsch des
niederländischen
Saxophonisten,
freischaffenden
Dirigenten und
Komponisten Matthias van
Nispen tot Pannerden
können sich die
verschiedenen
Instrumentengruppen Ihres
Ensembles wunderbar
präsentieren!
La
Trattamars è
stata originariamente
scritta per “Il
Trattamento
miracoloâ€, un
ensemble di cinque
elementi che hanno nel
loro repertorio musica
leggera apprezzata da
giovani e meno giovani.
Questa marcia viene
eseguita ogni qualvolta i
musicisti salgono sul
palco. Trattamars,
scritta da Matthias van
Nispen tot Pannerden,
sassofonista, compositore
e direttore olandese,
offre l’opportunit
ai diversi gruppi di
strumenti del vostro
ensemble di mettersi in
luce.
Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Band Concert Band - Grade 3 SKU: CF.CPS255 Composed by Mark Lortz. Set of...(+)
Band Concert Band - Grade
3
SKU: CF.CPS255
Composed by Mark Lortz.
Set of Score and Parts.
17+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+1+2
+1+4+6 pages. Duration
2:10. Carl Fischer Music
#CPS255. Published by
Carl Fischer Music
(CF.CPS255).
ISBN
9781491159835. UPC:
680160918423.
Ameri
can Visions is a
fast-paced and energetic
composition featuring
rousing brass fanfares,
lively woodwind motives,
and driving percussion.
It was initially inspired
to embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4-12 runs throughout the
piece and vacillates
between duple and triplet
rhythms. Players should
be mindful to
differentiate between the
two rhythms, so there is
clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble's texture.
Measure 73 uses bell tone
articulations that build
to standard articulations
at m. 76. Thank you for
playing my
composition. American
Visions is a fast-paced
and energetic composition
featuring rousing brass
fanfares, lively woodwind
motives, and driving
percussion. It was
initially inspired to
embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4–12 runs
throughout the piece and
vacillates between duple
and triplet rhythms.
Players should be mindful
to differentiate between
the two rhythms, so there
is clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble’s
texture. Measure 73 uses
bell tone articulations
that build to standard
articulations at m.
76. Thank you for
playing my
composition. .
American Visions Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS255F Composed by Mark Lortz. Full ...(+)
Band Concert Band - Grade
3
SKU: CF.CPS255F
Composed by Mark Lortz.
Full score. 17 pages.
Carl Fischer Music
#CPS255F. Published by
Carl Fischer Music
(CF.CPS255F).
ISBN
9781491159842. UPC:
680160918430.
Ameri
can Visions is a
fast-paced and energetic
composition featuring
rousing brass fanfares,
lively woodwind motives,
and driving percussion.
It was initially inspired
to embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4-12 runs throughout the
piece and vacillates
between duple and triplet
rhythms. Players should
be mindful to
differentiate between the
two rhythms, so there is
clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble's texture.
Measure 73 uses bell tone
articulations that build
to standard articulations
at m. 76. Thank you for
playing my
composition. American
Visions is a fast-paced
and energetic composition
featuring rousing brass
fanfares, lively woodwind
motives, and driving
percussion. It was
initially inspired to
embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4–12 runs
throughout the piece and
vacillates between duple
and triplet rhythms.
Players should be mindful
to differentiate between
the two rhythms, so there
is clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble’s
texture. Measure 73 uses
bell tone articulations
that build to standard
articulations at m.
76. Thank you for
playing my
composition. .
The Way to Heaven Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-426-010 Droga do Nieba...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.AMP-426-010
Droga do Nieba.
Composed by Philip
Sparke. Elite Series.
Opening Pieces. Set
(Score & Parts). Composed
2017. Anglo Music Press
#AMP 426-010. Published
by Anglo Music Press
(BT.AMP-426-010).
English-German-French-
Dutch.
The Way
to Heaven was
commissioned by the Royal
Air Force Music Services.
2015 was the 75th
anniversary of the Battle
of Britain, which took
place between July and
October 1940, when the
courageous fighter pilots
of the Royal Air
Forcethwarted
Hitler’s ambitions
to launch an invasion on
the UK. The Way to
Heaven opens with
fluttering woodwind
figures and brass
fanfares, which build to
a climax before a change
of key introduces a short
quotation for the Polish
National Anthem - Mazurek
Dbrowskiego. This fades
and you can hear
thesignal to scramble and
the throaty sounds of the
squadron’s Merlin
engines bursting into
life before they line up
to take off. This leads
to the main thematic
material of the work,
which depicts the
heaven-bound flight of
303 Squadron as it climbs
tointercept the incoming
Messerschmitt 109s. A
brief allusion to the
Polish national anthem
brings the piece to a
triumphant close.
The Way to
Heaven is geschreven
in opdracht van de Britse
Royal Air Force Music
Services. In 2015 was het
75 jaar geleden dat de
Slag om Engeland
plaatsvond, tussen juli
en oktober 1940, toen de
moedige gevechtspiloten
van de Royal Air Forcede
ambities van Hitler om
het Verenigd Koninkrijk
tot capitulatie te
dwingen wisten te
dwarsbomen. The
Way to Heaven opent
met
‘dwarrelendeâ€
motieven in het hout en
koperfanfares, die worden
opgebouwd tot een climax
voordat een modulatie een
kort citaat van het
Poolse volkslied Mazurek
Dbrowskiego introduceert.
Dit sterft weg endan
horen we het alarmsignaal
voor het opstijgen van de
vliegtuigen, en het
schorre geluid van de
Merlin-motoren voordat de
gevechtstoestellen de
lucht in gaan. Dit leidt
tot het belangrijkste
thematische materiaal van
het werk, dat de
‘vlucht naarde
hemel’ van het 303
Squadron beschrijft
tijdens de klim omhoog
met als doel het
onderscheppen van de
Duitse Messerschmitts Bf
109. Een toespeling op
het Poolse volkslied
brengt het werk naar zijn
triomfantelijke
slot.
The Way
to Heaven wurde von
den Royal Air Force Music
Services in Auftrag
gegeben. 2015 jährte
sich die Luftschlacht um
England, die von Juli bis
Oktober 1940
stattgefunden hat, zum
75. Mal. Die mutigen
Jagdflieger der Royal Air
Force hattenHitlers
Ambitionen einer Invasion
Englands verhindert. The Way to Heaven
beginnt mit einer
unruhigen Figur in den
Holzbläsern und mit
Blechbläser-Fanfaren,
die sich zu einem
Höhepunkt aufbauen,
bevor ein Tonartwechsel
einen kurzen Verweis auf
die polnische
Nationalhymne Mazurek
Dbrowskiego“
einleitet. Dies verklingt
langsam und man hört
das Signal zum Kampf und
das Dröhnen der
Merlin-Triebwerke der
Staffeln, die vor dem
Start zum Leben erwachen
und sich aufstellen. Dies
führt zum Hauptthema
des Werkes, das den Flug
in den Himmel vonStaffel
303 beschreibt, um die
herankommenden
Messerschmidt 109
abzufangen. Es klingt
nochmals kurz die
polnische Nationalhymne
an, bevor das Stück
mit einem triumphalen
Schluss
endet.
The Way to Heaven Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-426-140 Droga do Nieba...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.AMP-426-140
Droga do Nieba.
Composed by Philip
Sparke. Elite Series.
Opening Pieces. Score
Only. Composed 2017.
Anglo Music Press #AMP
426-140. Published by
Anglo Music Press
(BT.AMP-426-140).
English-German-French-
Dutch.
The Way
to Heaven was
commissioned by the Royal
Air Force Music Services.
2015 was the 75th
anniversary of the Battle
of Britain, which took
place between July and
October 1940, when the
courageous fighter pilots
of the Royal Air
Forcethwarted
Hitler’s ambitions
to launch an invasion on
the UK. The Way to
Heaven opens with
fluttering woodwind
figures and brass
fanfares, which build to
a climax before a change
of key introduces a short
quotation for the Polish
National Anthem - Mazurek
Dbrowskiego. This fades
and you can hear
thesignal to scramble and
the throaty sounds of the
squadron’s Merlin
engines bursting into
life before they line up
to take off. This leads
to the main thematic
material of the work,
which depicts the
heaven-bound flight of
303 Squadron as it climbs
tointercept the incoming
Messerschmitt 109s. A
brief allusion to the
Polish national anthem
brings the piece to a
triumphant close.
The Way to
Heaven<+O> is geschreven
in opdracht van de Britse
Royal Air Force Music
Services. In 2015 was het
75 jaar geleden dat de
Slag om Engeland
plaatsvond, tussen juli
en oktober 1940, toen de
moedige gevechtspiloten
van de Royal Air Forcede
ambities van Hitler om
het Verenigd Koninkrijk
tot capitulatie te
dwingen wisten te
dwarsbomen. The
Way to Heaven opent
met
‘dwarrelendeâ€
motieven in het hout en
koperfanfares, die worden
opgebouwd tot een climax
voordat een modulatie een
kort citaat van het
Poolse volkslied Mazurek
Dbrowskiego introduceert.
Dit sterft weg endan
horen we het alarmsignaal
voor het opstijgen van de
vliegtuigen, en het
schorre geluid van de
Merlin-motoren voordat de
gevechtstoestellen de
lucht in gaan. Dit leidt
tot het belangrijkste
thematische materiaal van
het werk, dat de
‘vlucht naarde
hemel’ van het 303
Squadron beschrijft
tijdens de klim omhoog
met als doel het
onderscheppen van de
Duitse Messerschmitts Bf
109. Een toespeling op
het Poolse volkslied
brengt het werk naar zijn
triomfantelijke
slot.
The Way
to Heaven wurde von
den Royal Air Force Music
Services in Auftrag
gegeben. 2015 jährte
sich die Luftschlacht um
England, die von Juli bis
Oktober 1940
stattgefunden hat, zum
75. Mal. Die mutigen
Jagdflieger der Royal Air
Force hattenHitlers
Ambitionen einer Invasion
Englands verhindert.
The Way to
Heaven beginnt mit
einer unruhigen Figur in
den Holzbläsern und
mit
Blechbläser-Fanfaren,
die sich zu einem
Höhepunkt aufbauen,
bevor ein Tonartwechsel
einen kurzen Verweis auf
die polnische
Nationalhymne Mazurek
Dbrowskiego“
einleitet. Dies verklingt
langsam und man hört
das Signal zum Kampf und
das Dröhnen der
Merlin-Triebwerke der
Staffeln, die vor dem
Start zum Leben erwachen
und sich aufstellen. Dies
führt zum Hauptthema
des Werkes, das den Flug
in den Himmel vonStaffel
303 beschreibt um die
herankommenden
Messerschmidt 109
abzufangen. Es klingt
nochmals kurz die
polnische Nationalhymne
an, bevor das Stück
mit einem triumphalen
Schluss
endet.
Moyses Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Scomegna Edizioni Musicali
(Biblical Poem). By Federico Agnello. For concert band. Grade 4.5. Score and...(+)
(Biblical Poem). By
Federico
Agnello. For concert
band.
Grade 4.5. Score and full
set
of parts. Duration 16
minutes.
Published by Scomegna
Edizioni
Musical srl
Composed by Derek
Bourgeois. Band Music.
Score and parts. Duration
17:40. Published by G & M
Brand Music Publishers
(CN.R10193).
With
inspiration taken from
composers Maurice Ravel,
Arthur Benjamin and
Charles Ives, Bourgeois
take s a tongue-in-cheek
approach to this
challenging 3-movement
work. While the work is
infused with humor
throughout, it still
showcases his mastery of
the wind band
idiom.
In 1972, I
wrote a Sonata for Two
Pianos for two friends
who were piano teachers
at Wellington College.
When in 1995 I was asked
to write a work for wind
band, I returned to this
Sonata and have
re-arranged and in the
new version renamed it
Fantasy Triptych. There
are three movements: 1.
Le Tombeau d'Arthur
Benjamin Ravel wrote 'Le
Tombeau de Couperin,'
Arthur Benjamin wrote 'Le
Tombeau de Ravel' and so
the temptation to write
'Le Tombeau d'Arthur
Benjamin' was
overwhelming. At the end
of the movement there is
an oblique reference to
Benjamin's own 'Jamaican
Rumba' which accompanies
a quote from an old
Spanish folk song 'Loro,
enciende el hervidor de
agua.' 2. Mr. Bolt goes
for a ride in his motor
car, and Monsieur Ravel
turns in his grave. The
movement is dedicated to
an old friend, Geoffrey
Bolt, who adores the
music of Ravel. but at
the time of writing was
learning to drive. He
always described his
vehicle as a motor car.
To describe him as an
impatient motorist would
be a gross
understatement. The
refined suavity of
Ravel's music was in
complete contrast to
these early
manifestations of road
rage, hence the central
angry outburst. 3. The
War March of the
Ostriches The music of
Charles Ives was
fascinating me at the
time of writing this
movement and some of the
influence has rubbed off
in this rondo-like march.
At the end there is a
quote from the very
beginning of the first
movement. The title was
inspired by the amusing
antics of a group of
ostriches during a visit
to Bristol Zoo.
Composed by Derek
Bourgeois. Band Music.
Score only. Duration
17:40. Published by G & M
Brand Music Publishers
(CN.S11193).
With
inspiration taken from
composers Maurice Ravel,
Arthur Benjamin and
Charles Ives, Bourgeois
take s a tongue-in-cheek
approach to this
challenging 3-movement
work. While the work is
infused with humor
throughout, it still
showcases his mastery of
the wind band
idiom.
In 1972, I
wrote a Sonata for Two
Pianos for two friends
who were piano teachers
at Wellington College.
When in 1995 I was asked
to write a work for wind
band, I returned to this
Sonata and have
re-arranged and in the
new version renamed it
Fantasy Triptych. There
are three movements: 1.
Le Tombeau d'Arthur
Benjamin Ravel wrote 'Le
Tombeau de Couperin,'
Arthur Benjamin wrote 'Le
Tombeau de Ravel' and so
the temptation to write
'Le Tombeau d'Arthur
Benjamin' was
overwhelming. At the end
of the movement there is
an oblique reference to
Benjamin's own 'Jamaican
Rumba' which accompanies
a quote from an old
Spanish folk song 'Loro,
enciende el hervidor de
agua.' 2. Mr. Bolt goes
for a ride in his motor
car, and Monsieur Ravel
turns in his grave. The
movement is dedicated to
an old friend, Geoffrey
Bolt, who adores the
music of Ravel. but at
the time of writing was
learning to drive. He
always described his
vehicle as a motor car.
To describe him as an
impatient motorist would
be a gross
understatement. The
refined suavity of
Ravel's music was in
complete contrast to
these early
manifestations of road
rage, hence the central
angry outburst. 3. The
War March of the
Ostriches The music of
Charles Ives was
fascinating me at the
time of writing this
movement and some of the
influence has rubbed off
in this rondo-like march.
At the end there is a
quote from the very
beginning of the first
movement. The title was
inspired by the amusing
antics of a group of
ostriches during a visit
to Bristol Zoo.