Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

Arr. Wil Van Der Beek. Par DVORAK ANTONIN. The year 2004 marked the 100th anniversary ofthe death of Antonin Dvorák. In 1879 Dvorákwrote this Polonaise as a commission for thecommittee organising the festivities for theirfamous national dance festival. Many famousCzech composers wrote dances specially for thisevent. This Polonaise in three movements, with itsfine melody lines, deserves to be more than just anoccasional work, however. Wil van der Beek’sconcert band arrangement does justice to theoriginal piece. / Niveau : 5 / Répertoire / Concert Band

À partir de 776 avant J.-C. et pendant plus d?un millénaire les Jeux Olympiques antiques ont eu lieu dans le site sacré d?Olympie en Grèce. L?année 1896 voit la renaissance de l?olympisme. Le baron Pierre de Coubertin organise les premiers Jeux modernes à Athènes. En 1996 Atlanta célèbre avec faste le centenaire des Jeux. James Curnow compose à la demande du Comité Olympique d?Atlanta cette œuvre brillante idéale pour débuter un concert.

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax which is both dynamic and harmonic the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register with motifs in ornamentation for saxophones bugles and trumpets. The finale like the prelude is capricious and vehement.The instrumentation for fanfare band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section.

Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions drawing on a full palette of acoustic echo effects Gregorian melodies and organ based choral themes.The work ?Catedrals? opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme ?Salve Regina? which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms including a fugue. The work then builds towards its first climax from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.

Brass Band Instruments (E flat)-Chris Morgan's Boosey E flat Brass Band Instruments Method is a major new resource for individual or group Woodwind and Brass teaching.The Boosey Woodwind and Brass Method provides everything you need for teaching music through the instrument. Its unique approach develops general musical skills through a programme of quality solo and ensemble music activities and audio CD.This wonderful method is based on a clear curriculum it provides an easy to use system for teaching plus all the flexible resources you need for every situation whether individual group or mixed instrument teaching.

Christmas Cantata (Sinfonia Sacra) the most famous piece of Daniel Pinkham composed in 1957 is a church composition for Chorus Double Brass and Organ. Written in Latin. Accessible to good high-school and college singers the opening statement is sung by the whole SATB chorus followed by the Allegro section which is rhythmically quite complicated. The middle section is sung by Sopranos and Altos while the Rondo which is part of the final part is sung by the whole SATB its verses being interpreted by the different groups.Daniel Pinkham (1923-2006) is an American composer organist and Harpsichordist. Most ofhis compositions were related to church music and his best known works are the Christmas Advent and Wedding Cantatas.

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Par DE HAAN JACOB. This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the 'Symphonic Variations' are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J. S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

A lone trumpet announces this signature hit by The Doors as the chart settles into the familiar moderate rock groove. Particularly effective is the woodwind feature section simulating the unique sound of the Farfisa organ of the late 60s.

Par BRIDGE FRANK. Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge’s best known organ piece and including the chimes ofBig Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band ‘legend’ Timothy Reynish makes a fine alternative toHolst’s two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and alsoby the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music./ Répertoire / Orchestre D'Harmonie

A lone trumpet announces this signature hit by The Doors as the chart settles into the familiar moderate rock groove. Particularly effective is the woodwind feature section simulating the unique sound of the Farfisa organ of the late '60s.