SKU: BT.DHP-1175712-010

English-German-French-Dutch.

This work was composed as a commission by the Keika Gakuen Symphonic Band, to commemorate their 40th annual concert. The composition is a march-style work that begins with a chorale based on a theme from the school song—a distinctive motif that reappears in the middle section. Tetsuya Kashino, a graduate of the high school, is a band coach and has a deep friendship with the composer. Kashino named the work Scent of Spring, which reflects two distinct meanings—firstly, in Japanese, a part of the band’s own name, and also “a premiere in Spring”. Scent of Spring is a bright and optimistic piece of music, suitable to perform on various occasions.

Dit werk is geschreven in opdracht van de Keika Gakuen Symphonic Band, een schoolorkest uit Tokio, ter gelegenheid van hun veertigste jaarconcert. Deze in marsstijl geschreven compositie begint met een op een thema uit het schoollied gebaseerd koraal: een motief dat nog eens opduikt in het middengedeelte. Tetsuya Kashino, een orkestleider die zelf ook op de betreffende school heeft gezeten, is nauw bevriend met de componist: hij heeft het werk Scent of Spring gedoopt, met in zijn achterhoofd twee betekenissen: ten eerste komt deze titel in het Japans deels overeen met de orkestnaam, ook verwijst de titel naar ‘een première in de lente’. Scent of Spring iseen opgewekt, optimistisch werk dat geschikt is voor diverse gelegenheden.

Dieses Werk wurde von der Keika Gakuen Symphonic Band anlässlich des 40-jährigen Konzertjubiläums in Auftrag gegeben. Das Werk wurde im Marschstil komponiert und beginnt mit einem Choral, der auf einem Thema des Schulliedes basiert ein charakteristisches Motiv, das im Mittelteil wieder aufgenommen wird. Tetsuya Kashino, ein Absolvent der Highschool, ist Orchesterleiter und eng mit dem Komponisten befreundet. Kashino gab dem Werk den Titel Scent of Spring“, was zwei verschiedene Bedeutungen zum Ausdruck bringt: einerseits ist es ein Teil des Orchesternamens auf Japanisch, andererseits bedeutet es eine Premiere im Frühling“. Scent of Spring ist ein fröhliches undoptimistisches Musikstück, das sich für alle möglichen Gelegenheiten eignet.

Cette œuvre a été composée en commande du Keika Gakuen Symphonic Band pour célébrer son 40e concert annuel. Cette composition dans un style de marche commence par un choral basé sur un thème de l’hymne de l’école, qui est un motif distinctif et réapparaît dans la section du milieu. Tetsuya Kashino, diplômé de l’école secondaire, et répétiteur de la formation et très bon ami du compositeur. Il a donné le titre de Scent of Spring (« parfum de printemps ») l’œuvre, ce qui a deux sens différents : d’abord, une partie du nom de la formation en japonais, mais aussi une allusion sa première qui eut lieu au printemps. Scent of Spring est une pièce de musique vive etoptimiste qui convient chaque occasion.

Questo lavoro è stato commissionato dalla Keika Gakuen Symphonic Band, per commemorare con un concerto il loro 40esimo anniversario. La composizione ha lo stile di una marcia che comincia con una corale basata su un tema della canzone della scuola - un tema distintivo che riappare anche nella sezione di mezzo. Tetsuya Kashino, insegnante della Banda e legato da profonda amicizia col compositore, ha voluto intitolare la composizione Scent of Spring, nome che riflette due significati distinti - in primo luogo, in giapponese, una parte del nome proprio della banda, ma anche col significato di una prima in primavera. Scent of Spring è un brano musicale brillante eottimista, adatto per essere eseguito in diverse occasioni.

SKU: HL.44011190

UPC: 884088693961. 9x12 inches. English-German-French-Dutch.

It is springtime: days become longer, birds prepare to nest, trees grow greener, and plants begin to flower. In short, nature awakens from its winter sleep. This, along with the fact that the composer's third grandchild was born in the spring, is the inspiration for Spring Song. Duration: 3:45 (Grade 4).

SKU: BT.EMBZ14686SET

9x12 inches.

Symphony no. 6 dates from the spring of 2009. It is dedicated to the conductor Károly Neumayer and his orchestra, the Pécs Railway Workers' Concert Wind Ensemble. About the work, the composer writes: 'This three-movement composition follows the classical traditions, but the first movement further develops the Scriabin-type sonata form, combining two fast movements. In contrast to the lyricism of the second movement a subterranean, negative force also makes its presence felt but in a dramatic conflict is overcome by the massive, inspired communal singing of the lyrical material, which becomes chorale-like as it emanates from the modal scales. The third movement is acheerful, dance-like scherzo, with comical, humorous sound-effects '

Die 6. Symphonie entstand im Frühling 2009. Sie ist dem Dirigenten Károly Neumayer und seinem Orchester, dem Bläserorchester der Ungarischen Staatsbahnen Pécs, gewidmet. Der Komponist schreibt über sein Werk: 'Die dreisätzige Komposition folgt den klassischen Traditionen, der erste Satz aber entwickelt durch die Verbindung von zwei schnellen Sätzen die Form von Skrjabin weiter. Im zweiten Satz erscheint als Gegenspieler zur lyrischen Grundstimmung auch eine negative, in die Tiefe ziehende Kraft. Letztere wird aber im dramatischen Gefecht vom lyrischen Stoff und vom choralähnlichen, aus der modalen Tonleitern stammenden, blockförmigen, gemeinschaftlichen Lied besiegt. Der dritteSatz ist ein fröhliches, tänzerisches Scherzo mit komischen, humorvollen Klangeffekten.'.

SKU: AP.36-A604401

ISBN 9798892702560. UPC: 659359671388. English.

Leroy Anderson (1908-1975), ever-popular in the concert hall for his light orchestral pieces, found a great musical ally in the Boston Pops Orchestra under its director, Arthur Fiedler. Premiering many of his works, they introduced to the world such gems as Sleigh Ride, Jazz Pizzicato, and The Syncopated Clock. In the 1950s, Anderson began to record his music under the Decca label, and out of these sessions came a short piece for orchestra, THE FIRST DAY OF SPRING, first recorded on June 25, 1954. A solo horn introduces the melody, which drifts through the orchestra into an idyllic finish. An American Pops classic in it's original scoring, this work is part of the Anderson Classics Series by E.F. Kalmus. Instrumentation: 2.2.2.2: (3Sax-AAT): 4.3.3.1: Timp: Str (9-8-7-6-5 in set).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.44007324

UPC: 884088245214. 9.0x12.0x1.232 inches. English(UK)/Deutsch/Francais/Nederlands.

Colorado Springs was commissioned by the United States Air Force Academy Band, Lieutenant Steve Grimo, Commmander/Conductor. Colorado Springs, home of the USAF Academy, is set in spectacular landscape towards the southern end of the Rocky Mountains and is a popular tourist resort for skiing and hiking. The Academy plays an important part in the life of the area and serves as a base for the USAFA Band, one of the professional bands forming part of the musical life of the U.S. Air Force. The suite is in three movements: 1. The Springs (fanfare) - “The Springs” is the local residents' name for the town, and this first movement starts with a stirring fanfare for brass and percussion, opening with bold unison horns. The rest of the brass join in and woodwind add decorative figures. After a short change of style, the opening material reappears to close the movement. 2. Seven Falls - Seven Falls is a spectacular waterfall near to the town which cascades 181 feet in seven distinct steps down a solid cliff of pikes peak granite. In this movement, high woodwinds describe the sparkling water as it descends to a popular lookout post near the bottom of the falls. 3. Pikes Peak - To the north-west of the town and reaching an altitude 14,110 feet, Pikes Peak is the farthest east of the big peaks in the Rocky Mountain chain, which contributed to its early fame among explorers and pioneers, and made it the symbol of the 1859 Gold Rush to Colorado with the slogan, “Pikes Peak or Bust.” It is the second-most visited mountain in the world behind Japan's Mount Fuji. This atmospheric movement describes the majesty of the mountain and is based around the fanfare from the first movement. Opening on a solitary bassoon, it is not long before the main theme appears under bubbling woodwinds. The music reaches a passionate climax at which point the opening fanfare reappears to bring the whole work to a close.

SKU: HL.44010899

UPC: 884088585297. 9x12 inches.

There is lots of fun to be had with this light and energetic composition. The knee-slapping rhythms and fiddle-style riffs help make it the perfect lighter moment on your concert program. In addition, the scoring is kept well within its grading level guidelines to make sure it's accessible for all the players. Duration: 1:35.

SKU: PR.465000130

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

SKU: BT.DHP-1064018-013

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

This rhapsody reflects the four seasons combined with the natural scenery that characterises the city of Québec and its surrounding region. Autumn is depicted with hunting horns playing in the forest, followed by a pastoral melody, principally in the woodwinds. Winter in the mountains is poetic and romantic. Spring arrives with a frolicsome and playful theme mirroring the start of new life. Soon everything flowers lushly, and the music swells into the full sounding energy of summer, bringing the work to a brilliant and dynamic close. A great work for any time of year.

De titel verwijst naar de oudste (indianen) naam van de canadese stad Québec. in deze rapsodie worden de vier seizoenen verklankt, in combinatie met de natuur die Québec en de omgeving kenmerkt. In de herfst spelen jachthoorns inhet woud signalen, waarna zich een pastorale melodie ontwikkelt. Dan volgt een lyrisch deel: winter in de bergen. Terwijl het buiten vriest, is het warm en gezellig. Een dartel thema verklankt de lente. De energie die de lente heeftopgewekt, komt in de zomer tot wasdom: het orkest gaat voluit, zodat het werk stralend besluit.

Dieses Werk entstand im Auftrag des Harmonieorchesters von Charlesbourg (Kanada) und ist François Dorion gewidmet. Die Uraufführung fand am 11. Dezember 2005 in Charlesbourg unter der Leitung des Komponisten statt. Der Titel bezieht sich auf den ältesten (indianischen) Namen der kanadischen Stadt Québec.In dieser Rhapsodie werden die vier Jahreszeiten widergespiegelt, eingebettet in die charakteristische Natur, die Québec und die ganze Region prägt.Im Herbst (Autumn) sind typische Hornsignale im Wald zu hören, gefolgt von einer etwas pastoralen Melodie, speziell in den Holzbläsern.Der nächste Satz ist ausgesprochen lyrisch und romantisch; es herrscht Winter in denBergen. Während draußen die beißende Kälte regiert, ist es drinnen am Kamin warm und gemütlich: ein angenehmes Bild.Wie in jedem Jahr beginnt der Frühling zögerlich; so setzt der dritte Satz, Spring, vorsichtig ein. Ein fröhliches, verspieltes Thema reflektiert den Neubeginn allen Lebens: Frühling am St. Lawrence River. Bald blüht alles üppig und auch die Musik schwillt zu vollen Klängen an.Die Energie, die der Frühling freisetzte, kommt im Sommer (Summer) vollends zur Entfaltung; die Atmosphäre ist nun sehr dynamisch und das Blasorchester spielt mit voller Kraft, so dass das Werk brillant und dynamisch endet.

Kebek dépeint la richesse des paysages naturels de Québec et ses environs, au coeur du cycle annuel des saisons. L’Automne bucolique s’illumine aux couleurs d’une mélodie pastorale. L’Hiver montagnard est poétique et romantique. Le Printemps coule des jours heureux sur les rives du fleuve Saint-Laurent. La nature est éclatante de couleurs florales. L’énergie devient rayonnante l’Été. L’atmosphère est pétillante, les sonorités sont opulentes et puissantes, et l’œuvre se conclut avec brillance et dynamisme.