SKU: PR.11641963S

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: PR.11641963L

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: BT.AMP-340-140

9x12 inches. English-German-French-Dutch.

Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains

Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen

Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge.

Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.

SKU: BT.DHP-0900226-020

This major concert work cosists o five movements.1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbe”, one of the countless wells of the immense Amazon stream.2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, ... . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways.3rd movement: MekaronMekaron is an Indian word meaning “picture”, “soul”, “essence”. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind him”, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone,80 tribes have vanished completely).4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound.5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped.

SKU: CL.011-4739-01

Remember how you felt as a child when you ran outside to play in the rain? That joy and childlike abandon is the spirit of this African-influenced work, Dancing In The Rain. A percussion groove complete with rain stick gives a foundation for the simple dancing song that is played by every instrument at some time during the piece. Tuneful countermelodies and rhythmic clapping by the winds joining with the percussion groove make this very fun to play and perform! Your students will feel like they are truly Dancing in the Rain!.

SKU: BT.DHP-1125039-140

9x12 inches. English-German-French-Dutch.

Offenbach (1819 - 1880), who was born in Germany, moved to Paris when he was a teenage boy and remained there for much of his life. He became especially famous as a composer of numerous operettas. and of one famous opera: Les Contes d’Hoffmann (The Tales of Hoffmann). His operettas (or ‘musiquettes’) were often based on comical, or satirical librettos. He makes fun of Parisian daily life, dignitaries, the military, the pretentiousness of the Grand Opéra, and so on. In that respect, Offenbach’s operettas are not really comparable with those of his German-speaking contemporaries, for example, Franz Lehár and Johann Strauss the Younger. Musically speaking, we could callOffenbach’s operettas lively, funny, melodious and catchy.For La Belle Hélène, Offenbach drew from Greek mythology. The story is based on that of Helen of Troy, but is set in France, halfway through the 19th century; it has been turned into a satire on the élite of that time.The overture to La Belle Hélène was (and still is) very successful. Offenbach combined a number of arias and choruses from the operetta to give a taste of what is to follow. Many overtures which follow this form lack unity and structure. However, in this case the composition has been well thought-out.

Offenbach (1819-1880), Duitser van geboorte, verhuisde als jongeman naar Parijs, waar hij een groot deel van zijn leven verbleef. Hij werd vooral beroemd als componist van talrijke operettes en een beroemde opera: Les Contes d’Hoffmann. Zijn operettes (of ‘musiquettes’) zijn qua libretto vaak komisch en hilarisch, ja zelfs satirisch. Hij steekt hierin de draak met het Parijse mondaine leven, met hoogwaardigheidsbekleders, met militairen, met de bombast van de Grand Opéra, enzovoort. In dat opzicht zijn Offenbachs operettes nauwelijks te vergelijken met die in Duitsland van bijvoorbeeld Franz Lehár en Johann Strauss jr. Muzikaal gezien kunnen we zijn operettes levendig,geestig, melodieus en goed in het gehoor liggend noemen.Voor La Belle Hélène putte Offenbach uit de Griekse mythologie. Het verhaal draait om Helena van Troje, maar is verplaatst naar Frankrijk, halverwege de negentiende eeuw; het is uitgewerkt tot een satire op de heersende elite.De ouverture van La Belle Hélène was (en is nog altijd) zeer succesvol. Offenbach heeft hierin een aantal aria’s en koren uit de operette samengevoegd - een voorproefje dus op wat komen gaat. Veel ouvertures die zo zijn gemaakt, missen eenheid en structuur. In dit geval is er echter sprake van een goed doordachte opbouw.

Der gebürtige Deutsche Jacques Offenbach (1819-1880) zog im Jugendalter nach Paris, wo er den größten Teil seines Lebens verbrachte. Bekannt wurde er vor allem als Komponist zahlreicher Operetten und einer berühmten Oper: Les Contes d’Hoffmann (Hoffmanns Erzählungen). Seine Operetten (oder Musiquettes“) basierte er häufig auf komischen oder gar satirischen Libretti. Darin wird das mondäne Pariser Leben karikiert mit seinen Würdenträgern, Militärs, dem Pomp der Grand Opéra und dergleichen mehr. In dieser Hinsicht sind Offenbachs Operetten vergleichbar mit den deutschen Werken eines Franz Lehár oder Johann Strauss (Sohn). Musikalisch betrachtet können Offenbachs Operetten alslebendig, amüsant, melodiös und eingängig beschrieben werden. Für La Belle Hélène bediente sich Offenbach der griechischen Mythologie. Die Handlung beruht auf Helena von Troja, wurde aber ins Frankreich der Mitte des 19. Jahrhunderts versetzt und in eine Satire auf die damals herrschende Elite verwandelt.Die Ouvertüre von La Belle Hélène war und ist sehr erfolgreich. Offenbach kombinierte darin eine Reihe von Arien und Chorstellen aus der Operette und lieferte so quasi einen Vorgeschmack auf das Folgende. Vielen auf diese Weise entstandene Ouvertüren mangelt es an Einheitlichkeit und Struktur. Diese Ouvertüre zeugt jedoch von einem gut durchdachten Aufbau.

Jacques Offenbach est né en Allemagne en 1819. Sa famille s’installe Paris alors qu’il est encore adolescent et c’est l qu’il passe la plus grande partie de sa vie. Il devient particulièrement célèbre pour la composition de nombreuses opérettes et d’un opéra légendaire, Les Contes d’Hoffmann. Ses opéras-bouffes (ou « musiquettes ») s’inspirent souvent de livrets comiques ou satiriques. Il parodie la vie quotidienne Paris, se moque des dignitaires, de l’armée, de la prétention du grand opéra, et ainsi de suite. cet égard, les œuvres d’Offenbach ne sont pas vraiment comparables aux opérettes de ses contemporains germanophones tels que Franz Lehár ou encoreJohann Strauss le jeune. Musicalement parlant, on peut dire que les opéras-bouffes d’Offenbach sont entraînants, spirituels, mélodieux et mémorables.Jacques Offenbach s’est inspiré de la mythologie pour composer La Belle Hélène, dont le livret brosse l’histoire d’Hélène de Troie. Mais parodiant l’une des légendes grecques des plus illustres, cette opérette se veut être une satire sur l’élite de l’époque.L’ouverture de La Belle Hélène a toujours été très populaire. Offenbach y glisse plusieurs arias et chœurs repris ensuite dans l’un ou l’autre acte de l’opérette, afin d’en offrir un avant-go t l’auditoire. De nombreux compositeurs écrivirent par la suite des ouvertures de canevas identique. Bien qu’un grand nombre d’entre elles manquent d’unité et de structure, l’ouverture de La Belle Hélène en est une exception notoire.

SKU: CF.CPS216F

ISBN 9781491153109. UPC: 680160910601.

Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections.  This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.

SKU: FL.FX070515-3

Simple, those pieces are entertaining and humorous. Their title give easily an indication of the character to give while playing them. Except << Le Debut... >> that should be played at the start, and << ... Et la FIN >> at the end, I let the Conductor free to define the order in which to play the central Pieces: << L'Heure de Pointe >> (The rush hour), << Un Moment Presque Tranquille >> (An almost quiet moment), and << Le Voyage en Train >> (The train trip).

SKU: CF.PPS51

ISBN 9781491151952. UPC: 680160909452.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve uses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

SKU: BT.DHP-1094733-140

9x12 inches.

The idea behind The Groove Makers is that all musicians, regardless of training or musical taste, can play together if they all keep the same ‘groove.’ This inspired Peter Kleine Schaars to write a piece everyone would enjoy and to give the concert band a trendy ‘groove’ that the audience can really connect with.

Die Idee hinter The Groove Makers sind Musiker, die - unabhängig vom Musikstil - alle im selben Groove“ spielen und gemeinsam das Entstehen einer gemeinsamen Erfahrung erleben. Alles arbeitet auf ein gemeinsames Ziel hin: das Blasorchester grooven“ zu lassen, um das Publikum mitzureißen. Diese Version von The Groove Makers ist eine ausgewogene Zusammenstellung von Höhepunkten aus dem originalen neunminütigen Pflichtstück.

The Groove Makers è un brano commissionato in occasione del 2° Festival svizzero di musica da intrattenimento (2008). L’idea era di raggruppare tutti i musicisti sotto un “groove” inteso come stile musicale da suonare insieme. The Groove Makers è quindi una creazione che privilegia suonare insieme. Lo sviluppo del brano è ideale per raggiungere l’obiettivo prefisso: un buon “groove” per incantare il pubblico.

SKU: CL.024-4172-01

Looking for a piece that introduces the chromatic scale in a meaningful way for the entire band? This lively march gives every player part of the chromatic scale as well as a musical melody and countermelody. Introduce the march form with an intro, 1st strain, transition, 2nd strain, trio and recapitulation. Open your concert with a sound that shows off your band!

SKU: HL.44010952

UPC: 884088613068. 9.0x12.0x0.54 inches. English-German-French-Dutch.

Just based on its title, this piece has to be celebratory and up-beat, which it is! It opens with a stately fanfare, first played on the low brass before the entire band joins in. This gives way to a contrasting lyrical theme which develops until it joins up with the fanfare to complete the opening section. A lively and heavily syncopated vivo follows, cast as a traditional march, complete with a 'bass strain' and trio. After the original march theme returns, a climax leads back to a reprise of the majestic opening, which brings the piece to an appropriately triumphant close.

Ein Stück namens Centennial Salute (Salut zur Jahrhundertfeier) ist schon per Definition festlich: Es beginnt mit einer prachtigen Fanfare im tiefen Blech, die dann vom gesamten Blasorchester aufgenommen wird. Diese macht einem kontrastiven lyrischen Thema Platz, das dann zusammen mit der Fanfare den ersten Teil beendet. Es folgt ein lebhaftes Vivo im traditionellen Marschstil, inklusive einem Trioteil. Nach der Rückkehr des ursprünglichen Marschthemas führt ein Hohepunkt zu einer Reprise der majestatischen Eroffnung, womit das Stück angemessen triumphal endet.

Centennial Salute debute avec une majestueuse fanfare enoncee aux cuivres graves, puis reprise en tutti. Une ligne melodique vient contraster par son expressivite, avant d'etre rejointe par le theme d'ouverture pour cheminer conjointement vers un vivo passionne (une marche), suivi d'un trio. Le theme de la marche revient ; la trame s'amplifi e et la musique atteint son apogee, alors qu'eclate le contenu solennel des mesures initiales offrant une apotheose triomphale.

Centennial Salute, come indica il nome, e un brano festivo. La composizione inizia con una splendida fanfara negli ottoni gravi, poi ripresa dall'intero organico. Fa da contrasto un tema lirico che, assieme alla fanfara, chiude la prima parte del brano. Segue un brillante vivo nello stile tradizionale della marcia. Dopo il ritorno del tema della marcia, e riproposto il tema di apertura, che accompagna il brano al suo finale.

SKU: FL.FX070515-2

Simple, those pieces are entertaining and humorous. Their title give easily an indication of the character to give while playing them. Except << Le Debut... >> that should be played at the start, and << ... Et la FIN >> at the end, I let the Conductor free to define the order in which to play the central Pieces: << L'Heure de Pointe >> (The rush hour), << Un Moment Presque Tranquille >> (An almost quiet moment), and << Le Voyage en Train >> (The train trip).

SKU: FL.FX070515-1

Simple, those pieces are entertaining and humorous. Their title give easily an indication of the character to give while playing them. Except << Le Debut... >> that should be played at the start, and << ... Et la FIN >> at the end, I let the Conductor free to define the order in which to play the central Pieces: << L'Heure de Pointe >> (The rush hour), << Un Moment Presque Tranquille >> (An almost quiet moment), and << Le Voyage en Train >> (The train trip).