Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Par DE HAAN JAN. Inspiration, ein Werk, das Jan de Haan für den Musikverband Solothurn komponierte, ist eine spannende Komposition mit zwei sehr unterschiedlichen Hauptthemen, die im Verlauf des Stückes teils einzeln, teils parallel behandelt werden. Der rassige erste Satz wird gefolgt von einem ruhigen Mittelteil, der Schlusssatz ist hingegen sehr rhythmisch und endet in einem glänzenden Fortissimo. Ein kontrastreiches Werk, das Musiker und Publikum gleichermaßen inspirieren wird! / Niveau : 4 / Pièce de concert / Répertoire / Fanfare

Wq 217. Par BACH CARL PHILIPP EMMANUEL. His Heilig Wq 217 is just 6 minutes long. Bach, however, put all his art into these few minutes, as he himself wrote to his publisher: „ Here I have proved the most daring and hard work . . . It will be my swan song of this nature, and serve to ensure that you do not forget myself too soon after my death“. The work requires an extraordinary instrumentation: two full orchestras with 3 Trumpets, 2 Oboes and Strings and two mixed choirs. A sensitive alto solo initiates the work and prepares the dialogue between the choirs of angels and of peoples. It is a musical highlight, when the angel choir modulates from F minor via the tritone interval to B major, initiating the tutti fortissimo. A strong four-part fugue concludes the short work. / Messe / Date parution : 1973-01-01/ Répertoire / Solo A, Choeur SATB/SATB, 2 Orchestres: 2 Hautbois

Par ROELS STIJN. THE OTHER SIDE (De l’autre coté) se compose de trois mouvements ininterrompus exprimant tout d’abord, le chagrin que l’on éprouve à la perte d’un être cher mais aussi les moments heureux passés avec lui. Alors que le deuxième mouvement s’achèvebrutalement sur un fortissimo, vient ensuite un dernier mouvement instaurant une ambiance impressionniste magique : il évoque l’adieu, le passage vers une 'nouvelle vie'. Une oeuvre lente qui privilégiera vos moments de recueillement. / Niveau : 3.5 / Répertoire / Concert Band ou Harmonie

Par BLANKEN JOHN. Liberty est une marche contrastante de forme traditionnelle. La première partie développe un thème pétillant qui se fond dans un solo de basse solidement charpenté. Le trio, plus lyrique, expose quelques nouvelles idées formant un contraste marqué avec le passage d’ouverture. La musique s’enflamme pour un énoncé en fortissimo qui chemine à travers l’ensemble de l’orchestre puis cède sa place à un thème Grandioso, dernier épisode de l’oeuvre. / Niveau : 4 / Marche / Répertoire / Fanfare

Par BLANKEN JOHN. Why should rock musicians have all the fun? Now your band can experience the thrill of playing a piece in a classic 12-bar blues style. Many players are given the chance to show off their skills as a soloist before the work builds to a grand fortissimo finale with the whole band playin’ the blues! / Niveau : 3 / Musique légère originale / Répertoire / Brass Band

Par BLANKEN JOHN. Liberty est une marche contrastante de forme traditionnelle. La première partie développe un thème pétillant qui se fond dans un solo de basse solidement charpenté. Le trio, plus lyrique, expose quelques nouvelles idées formant un contraste marqué avec le passage d’ouverture. La musique s’enflamme pour un énoncé en fortissimo qui chemine à travers l’ensemble de l’orchestre puis cède sa place à un thème Grandioso, dernier épisode de l’oeuvre. / Niveau : 4 / Marche / Répertoire / Fanfare

Ce Prélude, surnommé ' gouttes d'eau ', est tiré du recueil des 24 préludes opus 28 de Chopin. Quinzième pièce en ordre d'apparition, il est le plus long mais surtout le plus populaire. Très proche de l'atmosphère d'un Nocturne, il égrène ses notes répétées à la main gauche qui finissent par hypnotiser l'auditeur. Pour certains, cette répétition interminable de mêmes notes symbolise les gouttes de pluie qui frappaient pesamment le toit de la chartreuse de Valdemosa, lieu de retraite de Chopin et Georges Sand. La partie centrale du Prélude, dans le ton de do dièse mineur, s'enfle peu à peu, s'agite et aboutit à un fortissimo inconsolable, point culminant de l''uvre. La fin réexpose le thème initial et retourne brièvement à une certaine clarté, non dénuée d'accablement et de tristesse. / Piano / Partition Séparée

Pour Piano. Par HAHN REYNALDO. The unacquainted listener, upon hearing a piece from the Hahn piano repertoire, is often surprised by its powerful charm - a testament to the composer' s unique musical sensibility. Although some of Hahn' s musical ideas have roots in the long tradition of Romanticism, they also present a host of new images, scarcely seen in earlier scores Each piece in this collection is based on a single formula that varies little from start to finish. An exception to this unique principle occurs in the IInd piece, where the young woman takes fright at the ' flaming red eye of the setting sun watching her through the branches”. As a conclusion, Reynaldo Hahn offers a ' very free” cadence that takes up and comments on the initial theme: the crackling notes culminate in a fortissimo blaze, rapidly followed by a progressive lull that slowly fades away./ Répertoire / Piano

New edition of the full score of this 8-minute work composed in 1933-36. Stemming from a suggested commission for an oboe concerto this music represented, as Stephen Banfield asserts, 'the first real manifestation of Finzi's mature idiom?. The demanding solo part is underpinned with idiomatic string writing as the music evolves with a natural flowing momentum. The work has a cyclic feeling to it, with a concluding fortissimo return to part of the opening. Its power of expression makes it rewarding for players and listeners alike.Performance materials available on hire from Boosey and Hawkes. / Hautbois Et Orchestre A Cordes

Par TAN CHEE-HWA. Circus Sonatinas introduces sonatina while vividly portraying the and activity of the circus ring. movements of each composition contrasting musical ideas, from leaping acrobatics of Circus Sonatina to the ferocious fortissimo ending of The -Top Sonatina. Perfect for festivals recitals, the albums in this series invaluable additions to any piano library. / Methods and Tutors / Recueil / Piano

Par BARNES LARRY. Cloud Breathing by Larry Barnes, for Oboe and Piano. Cloud breathing is a technique in Chinese martial arts involving short, sharp inhaling breaths and a slow exhale to oxygenate the body in preparation for fighting, meditation and healing. In this work, the piano begins in the upper register with tones like wind chimes, with the oboe entering beneath. This meditative first section leads to sudden shifts in harmony under a quiet oboe melody. Activity increases, leading to an oboe cadenza and a fast section based on rapid repeated notes in the oboe with the piano accompanying with contrapuntal lines. A brief piano solo leads to fragments of melody from the slow opening, now transformed. After a fortissimo climax, the quiet wind chime opening suddenly returns. The music gradually regains momentum to break into a bright Lydian climax and a strong close. / Date parution : 2022-11-29/ Répertoire / Hautbois et Piano

for 5 soloists (SSATB), speaker, 3 mixed choirs and orchestra. Par PENDERECKI KRZYSZTOF. Deeply moved by his first visit to the city of Jerusalem with its seven gates, Krzysztof Penderecki composed this major vocal work to celebrate the city's 3,000th anniversary in 1995. Two years later, it was premiered as Symphony No. 7 in which the magic number seven has a special meaning: From the seven movements representing the seven gates to the seven powerful fortissimo chords concluding the oratorio, the biblical number runs through the entire work./ Répertoire / 5 Solistes [SSATB], Narrateur, 3 Chœurs Mixtes et