Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1175813-010

Composed by Satoshi Yagisawa. Brilliant Marches. March. Set (Score & Parts). Composed 2017. De Haske Publications #DHP 1175813-010. Published by De Haske Publications (BT.DHP-1175813-010).

English-German-French- Dutch.

This work was composed as ceremonial music, as part of a march medley for the participants’ entry for the 71st National Sports Festival and the 16th National Disabled Personnel Sports Festival, held in Iwate Prefecture in 2016. The European premiere of this piece took place in December of that year, the composer guest conducting the Young Musicians from Fribourg, Switzerland. This work, fusing Japanese folk song with march music, will have wide appeal, like the sister work March-Bou-Shu, also published by de Haske Publications.

Dit werk is gecomponeerd als ceremoniële muziek: het maakte deel uit van een marsenmedley voor de binnenkomst van deelnemers aan het 71e Nationale Sportfestival en het 16e Nationale Sportfestival voor Gehandicapten, gehouden in de prefectuur Iwate, in 2016. Deze combinatie van Japanse volksmuziek met marsmuziek zal veel muzikanten en luisteraars aanspreken, net als het zusterwerk March-Bou-Shu, dat ook door de Haske Publications bv werd uitgegeven.

Dieses Werk wurde 2016 anlässlich eines großen Sportfestes in Japan komponiert und war Teil eines Marsch-Medleys für den Einmarsch der Teilnehmer. Die europäische Premiere fand 2016 mit den Young Musicians aus Fribourg (Schweiz) und dem Komponisten als Gastdirigent statt. Im March-Chagu-Chagu vermischen sich japanische Volksmusik und Marschmusik zu einem exotischen Hörvergnügen.

Cette oeuvre fut composée comme musique cérémonielle, faisant partie d’un medley de marches l’arrivée des participants du 71e National Sports Festival et du 16e National Disabled Personnel Sports Festival en 2016. La première européenne s’est tenue en décembre de la même année l’initiative de l’Association Fribourgeoise des Jeunes Musiciens en Suisse. Cette œuvre qui fusionne une chanson folklorique japonaise avec la musique de marche aura une large résonance, comme sa composition soeur March-Bou-Shu, aussi publiée par De Haske Publications.

Ques to brano è stato composto nello stile di una musica cerimoniale, come parte di un medley di marce per accompagnare l’entrata dei partecipanti al 71° National Sports Festival e al 16° National Disabled Personnel Sports Festival nella Prefettura di Iwate in Giappone nel 2016. La prima europea della composizione si è tenuta nel dicembre dello stesso anno a Friburgo (Svizzera), sotto la direzione del compositore stesso. Come per March-Bou-Shu successo garantito per questa delizioso mix di canzone popolare giapponese e marcia.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1175813-140

Composed by Satoshi Yagisawa. Brilliant Marches. March. Score Only. Composed 2017. De Haske Publications #DHP 1175813-140. Published by De Haske Publications (BT.DHP-1175813-140).

English-German-French- Dutch.

This work was composed as ceremonial music, as part of a march medley for the participants’ entry for the 71st National Sports Festival and the 16th National Disabled Personnel Sports Festival, held in Iwate Prefecture in 2016. The European premiere of this piece took place in December of that year, the composer guest conducting the Young Musicians from Fribourg, Switzerland. This work, fusing Japanese folk song with march music, will have wide appeal, like the sister work March-Bou-Shu, also published by de Haske Publications.

Dit werk is gecomponeerd als ceremoniële muziek: het maakte deel uit van een marsenmedley voor de binnenkomst van deelnemers aan het 71e Nationale Sportfestival en het 16e Nationale Sportfestival voor Gehandicapten, gehouden in de prefectuur Iwate, in 2016. Deze combinatie van Japanse volksmuziek met marsmuziek zal veel muzikanten en luisteraars aanspreken, net als het zusterwerk March-Bou-Shu, dat ook door de Haske Publications bv werd uitgegeven.

Dieses Werk wurde 2016 anlässlich eines großen Sportfestes in Japan komponiert und war Teil eines Marsch-Medleys für den Einmarsch der Teilnehmer. Die europäische Premiere fand 2016 mit den Young Musicians aus Fribourg (Schweiz) und dem Komponisten als Gastdirigent statt. Im March-Chagu-Chagu vermischen sich japanische Volksmusik und Marschmusik zu einem exotischen Hörvergnügen.

Cette oeuvre fut composée comme musique cérémonielle, faisant partie d’un medley de marches l’arrivée des participants du 71e National Sports Festival et du 16e National Disabled Personnel Sports Festival en 2016. La première européenne s’est tenue en décembre de la même année l’initiative de l’Association Fribourgeoise des Jeunes Musiciens en Suisse. Cette œuvre qui fusionne une chanson folklorique japonaise avec la musique de marche aura une large résonance, comme sa composition soeur March-Bou-Shu, aussi publiée par De Haske Publications.

Ques to brano è stato composto nello stile di una musica cerimoniale, come parte di un medley di marce per accompagnare l’entrata dei partecipanti al 71° National Sports Festival e al 16° National Disabled Personnel Sports Festival nella Prefettura di Iwate in Giappone nel 2016. La prima europea della composizione si è tenuta nel dicembre dello stesso anno a Friburgo (Svizzera), sotto la direzione del compositore stesso. Come per March-Bou-Shu successo garantito per questa delizioso mix di canzone popolare giapponese e marcia.

Flute - Preparatory

SKU: FH.FLR00

2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book/Piano Accompaniment/CD. The Frederick Harris Music Company #FLR00. Published by The Frederick Harris Music Company (FH.FLR00).

ISBN 978-1-55440-288-5.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

Saxophone - Preparatory

SKU: FH.WS0

Saxophone Series, 2013 Edition. Composed by The Royal Conservatory. Saxophone Series, 2013 Edition. Book/CD. 40/24 pages. The Frederick Harris Music Company #WS0. Published by The Frederick Harris Music Company (FH.WS0).

ISBN 978-1-55440-549-7.

Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.
Eb Saxophone:

Rhythmi c Repertoire:
The Birch Tree - Traditional Russian, arr. Akiko and Forrest Kinney
The Carman's Whistle - William Byrd, arr. Christine Donkin
Alto Affirmation - Eugene Rousseau
Menuet (Rondeau) - Francois Philidor, arr. Kathleen Wood
What Is a Day? - Philip Rosseter, arr. Akiko and Forrest Kinney
Polly Wolly Doodle - Traditional American, arr. Akiko and Forrest Kinney
The Cuckoo - Traditional
Dance Time - Paul Harris
Lyrical Repertoire:
Evening Song - Edwin Franko Goldman
Syrian Love Song (Al Ya Zane) - Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Huron Carol - 16th-century French, arr. Akiko and Forrest Kinney
At the Clear Fountain (a la claire fontaine) - Traditional French Canadian, arr. Akiko and Forrest Kinney
Trembling Aspen - Christiaan Venter
The Moon over the Ruined Castle (Kojo no Tsuki) - Rentaro Taki, arr. Mark Mrozinski
Lullaby (Wiegenlied), op. 49, no. 4 - Johannes Brahms, arr. Forrest Kinney
Beautiful Brown Eyes - Alton Delmore and Arthur Smith, arr. Andrew Balent

Bb Saxophone:

Rhythmi c Repertoire:
The Birch Tree - Traditional Russian, arr. Akiko and Forrest Kinney
The Carman's Whistle - William Byrd, arr. Christine Donkin
Menuet (Rondeau) - Francois Philidor, arr. Kathleen Wood
Allemande - Franz Joseph Haydn, arr. Jason Noble
Lyrical Repertoire:
Syrian Love Song (Al Ya Zane) - Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Huron Carol - 16th-century French, arr. Akiko and Forrest Kinney
Beautiful Brown Eyes - Alton Delmore and Arthur Smith, arr. Andrew Balent
Amazing Grace - Traditional American, arr. Forrest Kinney
The Moon over the Ruined Castle (Kojo no Tsuki) - Rentaro Taki, arr. Mark Mrozinski
Calm Breezes - Richard Johnston
To a Wild Rose - Edward MacDowell, arr. Jason Gray.

High Voice. Composed by Franz Schubert (1797-1828). Edited by Walther Durr. This edition: urtext edition. Paperback. Vocal score, anthology. Published by Baerenreiter Verlag

Medium Voice. Composed by Franz Schubert (1797-1828). Edited by Walther Durr. This edition: urtext edition. Paperback. Vocal score, anthology. Published by Baerenreiter Verlag

Low Voice. Composed by Franz Schubert (1797-1828). Edited by Walther Durr. This edition: urtext edition. Paperback. Vocal score, anthology. Published by Baerenreiter Verlag (BA.BA9148).

Recorders-choir and small percussion (Orff-instrumentarium) (ZIMB)

SKU: HL.49020997

Composed by Cesar Bresgen. This edition: Saddle stitching. Sheet music. Bausteine fur Musikerziehung und Musikpflege. Individual part. 2 pages. Schott Music #B 144-19. Published by Schott Music (HL.49020997).

ISBN 9790001104678.

By Cathy Albergo, J. Mitzi Kolar, Mark Mrozinski. For Piano. This edition: 1st. A Comprehensive Piano Method. Celebrate Piano!. Level: Early Elementary. Book. Published by The Frederick Harris Music Company.

Fanfare Band - Grade 2

SKU: BT.GOB-000803-120

Composed by William Vean. Score Only. 20 pages. Gobelin Music Publications #GOB 000803-120. Published by Gobelin Music Publications (BT.GOB-000803-120).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

Orchestra - advanced

SKU: HL.49027996

Score. Composed by Paul Hindemith. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1932. 40 pages. Duration 16'. Schott Music #CON 78. Published by Schott Music (HL.49027996).

ISBN 9790001022491.

The suite from the cycle 'Ploner Musiktag' (1932) was structured according to the exact instrumentation directions of the composer and completed with a percussion part ad lib. Particular attraction is caused by the different instrumentation of the four movements which, how-ever, takes into consideration the conditions of school practice.

Piano

SKU: BT.WH28352B

Composed by Per Nørgård. Choral Score. Edition Wilhelm Hansen #WH28352B. Published by Edition Wilhelm Hansen (BT.WH28352B).

Cello - Preparatory

SKU: FH.VC0

Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC0. Published by The Frederick Harris Music Company (FH.VC0).

ISBN 978-1-55440-536-7.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation for the richness and diversity of music written for cello.
Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Legato Pieces on a Slower Tempo: Beautiful Dreamer - Foster, Stephen arr. Forrest Kinney Shenandoah - American folk song arr. Jason Gray Waltz of the Elephants - Konicek, Zdenek Cradle Song (Wiegenlied), op. 49, no. 4 - Brahms, Johannes arr. Forrest Kinney Amazing Grace - American hymn arr. Forrest Kinney Loch Lomond - Scottish folk song arr. Christine Donkin Nocturne - Mendelssohn, Felix arr. Jason Noble Early One Morning - English folk song arr. Akiko and Forrest Kinney Austrian Hymn (Gott erhalte Franz den Kaiser), Hob. XXVIa: 43 - Haydn, Franz Joseph arr. Jason Noble The Minstrel Boy - Irish folk song arr. Christine Donkin Energetic Pieces in a Faster Tempo: Smash the Windows - Irish jig arr. Jason Gray Grandfather's Clock - Work, Henry Clay arr. Christine Donkin Sonatina in C Major, op. 36, no. 1 - Clementi, Muzio arr. Mark Mrozinski - Third Movement: Rondo Mean Street Chase - Blackwell, David and Kathy Blackwell Forlane (from La reine de Peris, act 3) - Aubert, Jacques arr. Kathleen Wood Allegro, K 3 - Mozart, Wolfgang Amadeus arr. Jason Noble Parson's Farewell - English country dance arr. Jason Gray Contredanse, K 106 (588a), no. 1 - attr. Mozart, Wolfgang Amadeus arr. Kathleen Wood Melted Mouse and Roasted Rat in Choc'late Sauce - Lumsden, Caroline and Ben Atwood Theme and Variations - Beethoven, Ludwig van arr. Endre Lengyel and arpad Pejtsik.

Concert Band/Harmonie - Grade 2

SKU: BT.GOB-000756-140

Composed by William Vean. Score Only. 36 pages. Gobelin Music Publications #GOB 000756-140. Published by Gobelin Music Publications (BT.GOB-000756-140).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

SKU: HL.44012716

Mitropa Music Concert Band. Softcover. Hal Leonard #175210725M. Published by Hal Leonard (HL.44012716).

UPC: 888680101060.

Brass Band - Grade 2

SKU: BT.GOB-000804-130

Composed by William Vean. Score Only. 32 pages. Gobelin Music Publications #GOB 000804-130. Published by Gobelin Music Publications (BT.GOB-000804-130).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

By Cathy Albergo, J. Mitzi Kolar, Mark Mrozinski. For Piano. This edition: 1st. A Comprehensive Piano Method. Celebrate Piano!!. Prep A. Level: Early Elementary. Compact Disc. Published by The Frederick Harris Music Company.

Concert Band/Harmonie - Grade 2

SKU: BT.GOB-000756-010

Composed by William Vean. Set (Score & Parts). 116 pages. Gobelin Music Publications #GOB 000756-010. Published by Gobelin Music Publications (BT.GOB-000756-010).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

Children's choir and SATB choir, piano

SKU: GH.GE-12222

Composed by Jens Eriksson. Octavo. With Language: Swedish. Gehrmans Musikforlag #GE 12222. Published by Gehrmans Musikforlag (GH.GE-12222).

ISBN 979-0-070-12222-1. 185 x 262 mm inches. Text: Jens Eriksson.

En Mariasang for barnkoren pa egen hand eller tillsammans med vuxna sangare.

By Franz Schubert. Edited by Friedlaender. For voice, piano. Published by C.F. Peters.

Brass Band - Grade 1.5

SKU: BT.GOB-000668-030

Composed by Bruce Fraser. Set (Score & Parts). 32 pages. Gobelin Music Publications #GOB 000668-030. Published by Gobelin Music Publications (BT.GOB-000668-030).

An unintended play on words on the title of Mozart's famous composition forms the basis of this solo piece. It was composed in 2004 by the Scottish composer, Bruce Fraser, and features a solo for flugel or cornet. It is not a very difficult piece for both the soloist and the band, but is that always necessary? A lovely, highly recommended intermezzo for your concert.

Een 'onbedoelde' woordspeling met een bekend werk van Mozart staat aan de basis van dit solowerkje. Het werk is in 2004 gecomponeerd door de Schotse componist Bruce Fraser en brengt de flugel of cornet als solo-instrument voor hetvoetlicht. Voor solist(e) en orkest niet erg moeilijk maar moet dat dan? Een heerlijk intermezzo en een aanrader voor uw concert.

Concert Band/Harmonie and Piano

SKU: BT.BMP8095417

Composed by Leroy Anderson. Arranged by Jörg Murschinski. Score Only. Composed 2008. Beriato Music #BMP8095417. Published by Beriato Music (BT.BMP8095417).

A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.

Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische

Über den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.
< br>Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.

Accordion Orchestra - Grade 4

SKU: BT.DHP-1043573-060

Composed by Carl Teike. Arranged by Gerd Huber. Accordion. Set (Score & Parts). Composed 2004. 16 pages. De Haske Publications #DHP 1043573-060. Published by De Haske Publications (BT.DHP-1043573-060).

English-German-French- Dutch.

Teike is een van de grootste componisten van marsmuziek, vooral vanwege zijn traditionele marsen Alte Kameraden en Graf Zeppelin. Beide marsen zijn wereldwijd bekend en worden vaak gespeeld, dankzij hun prachtige en pakkende melodieën.De mars Graf Zeppelin is een eerbetoon aan Ferdinand Graf von Zeppelin, de beroemde Duitse maker van luchtschepen, die in de tijd van Teike leefde. Manuel en Gerd Huber maakten van dit stuk een fraaie accordeonbewerking.
Carl Teike wurde im 1864 in Altdamm geboren. Später zog er mit seiner Familie in die Nähe von Stettin, wo er viele Militärmärsche kennen lernte, die ihn in seinem späteren Leben inspirieren sollten. Teike zählt insbesondere wegen seiner Traditionsmärsche Alte Kameraden und Graf Zeppelin zu den besten Marschkomponisten überhaupt. Beide Märsche sind auf der ganzen Welt bekannt und werden dank ihrer schönen, eingängigen Melodien oft gespielt.Der Marsch Graf Zeppelin ist eine Hommage an den großen deutschen Luftschiffkonstrukteur Ferdinand Graf von Zeppelin, der zu Lebzeiten Teikes seine bekannten Luftschiffe baute. Gerd Huber schuf eine gelungene Bearbeitung diesesStückes für Akkordeonorchester.

Carl Teike est né en 1864 Altdamm en Allemagne. Dès son plus jeune ge, il se passionne pour les marches militaires dont il s’inspirera pour ses futures compositions. Carl Teike est l’un des plus grands compositeurs de marches. Il est notamment l’auteur de deux marches traditionnelles célèbres dans le monde entier : Alte Kameraden et Graf Zeppelin en hommage au célèbre constructeur de dirigeables allemand Ferdinand Graf von Zeppelin. Gerd et Manuel Huber en ont réalisé un arrangement élégant et captivant par la beauté des mélodies.

SKU: HL.44012718

Mitropa Music Concert Band. Softcover. Hal Leonard #175210727M. Published by Hal Leonard (HL.44012718).

UPC: 888680101084.

Diatonic single-action accordion

SKU: M7.VHR-78-01

Marsch. Composed by Josef Frei. Sheet music. 6 pages. Holzschuh Musikverlag #VHR 78-01. Published by Holzschuh Musikverlag (M7.VHR-78-01).

ISBN 9790201325903.