Concerto Grosso for Brass Band and Percussion-Landscapes is a work structured around two main ideas. On the one hand the music freely paints some of the superb landscapes I’ve seen during several of my trips around the world. Listeners should however not be influenced by this programmatic framework and are encouraged to build their own ‘mind pictures’.On the other hand Landscapes constitutes a test piece for each section of the brass band. Indeed each musical landscape highlights a particular register. A small group of soloists is given the opportunity to fully display its skills in dialogue with the rest of the band (the tutti) hence the name ‘concerto grosso’. Landscapes also relies on the band’s different soloistmusicians when it comes to express highly complex musically and technically challenging passages.

for Wind Orchestra, Studyscore. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 ?Urban Landscapes? Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 ?Urban Landscapes? Op. 55: a sumptuous musical portrait of the ?Windy City?./ Répertoire / Concert Band/Harmonie

for Wind Orchestra, Additional European Parts. Par CESARINI FRANCO. Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes” Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”./ Répertoire / Concert Band/Harmonie

Landscapes was commissioned by Glasgow 1990 to mark the city's designation as the Cultural Capital of Europe in 1990 with funds provided from the City of Glasgow District Council. The first performance was in June 1990 in Glasgow.

Par SPARKE PHILIP. The picturesque town of Mandalen lies amid snow-covered mountains and scenic fjords on the west coast of Norway. MANDALEN LANDSCAPES was commissioned by and written for Måndalen Skule og Ungdomskorps (Mandalen School and Youth Band) for a major concert in November 2003 at the instigation of its conductor, John Hudson, a long-time friend of composer Philip Sparke. Sparke set out to capture the beauty of the area in music and the piece opens with an evocation of the crisp, clear air of a Norwegian morning. After this introduction, the main theme is stated on clarinets and saxophones. A central bridge section takes the listener through several moods until the brass reintroducethe main theme under a woodwind descant. Material from the introduction brings the work to a peaceful close. / Niveau : 2.5 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

10 Melodic Pieces-Landscapes is a collection of 10 easy to medium pieces for flute and piano specially written with the younger player in mind. The flute parts are kept as simple as possible whilst creating modern harmonic interest in thepiano part. The melodies for flute are of a pastoral flavour the piano on the other hand to add an interesting twist to the music contains dissonant jazz-influenced harmonies. However the music is to be playedclassically by using the phrasing and dynamics which are clearly marked on the pages.

This work takes its title from a poem by Lord Berners dedicated to Salvador Dali and written for the opening of his first London exhibition. Surrealist Landscape can be performed either for voice piano and tape playback or by two voice and piano teams.