Par HOWARD JAMES NEWTON. Fantastic Beasts: The Secrets of Dumbledore is as musically intriguing as the motion picture's storyline with its stunning music by James Newton Howard. The magic and mystery of this installment of J.K. Rowling's adventure will come to life with this exciting arrangement by Chris M. Bernotas. This arrangement can be performed as a string orchestra alone or with any combination of winds and percussion up to a full orchestra. Featuring these highlights from the score: 'The Secrets of Dumbledore,' 'Lally,' 'Countersight,' 'The Room We Require,' and 'Hedwig's Theme.' / Date parution : 2022-10-25/ Répertoire / Orchestre

James Horner's magnificent score plays a key role in the emotion and drama of this memorable film with Tom Hanks. John Moss' medley opens with the plaintive solo trumpet theme and includes several of the film score's distinctive and inspiring themes.

Cantate : Texte : James Baldwin, John Dos Passos, Jack Kerouac, John Steinbeck, Thomas Wolfe et Walt Whitman. / Grand Ensemble Contemporain Et Orchestre

Britannia a été écrit en 1994 que la célébration d'une force majeure dans notre vie musicale, l'orchestre britannique. Le travail Remplir une commande de British Telecommunications plc avec l'Association de la Colombie-Orchestres dans le cadre de la série BT célébration, et fournit tous les grands orchestres du Royaume-Uni avec une nouvelle ouverture de concert pour la performance de la saison 1994/95.Britannia est un fantasme de dix minutes orchestrale basée sur des 'thèmes patriotiques. Il n'existe aucun programme de recherche, mais que l'histoire de la tapisserie de mélodies populaires et des allusions de résonance, compte tenu de leurs contextes nouveaux et inconnus, peut provoquer certains scénarios surprenant dans l'esprit de l'auditeur, en particulier à un moment où le chauvinisme petite menace à l'arrière une fois de plus dans toute l'Europe. La pièce se développe sur un court sketch écrit plus tôt cette année, Mémoire Impériale, qui est basé sur un air de mars par le général Reid, à l'officier britannique du 18e siècle, l'armée qui a créé le département de musique de l'Université d'Edimbourg. Ce thème et le 'impériale' d'Elgar et de thèmes Arne sont jetés dans une concoction volatile avec d'autres matériaux - une bobine irlandaise (qui devient un gabarit), une chanson à boire Cockney, des airs d'autres mars et une modalité brumeux celtique.Toutes les idées principales sont présentées dans une succession rapide et forte au cours de la section d'ouverture rapide. La partie lente milieu commence avec un canon sereine qui est progressivement Minée par gradés de l'armée et des percussions sur des allusions. Cette confrontation conduit à l'apogée du travail, suivie d'une coda en suspens.Britannia est dédié à Libby MacNamara de l'Association des orchestres britanniques. / Orchestre

Le compositeur précise que ce travail est une fusion de poème symphonique et concerto pour orchestre. Le titre fait référence à une figure dans le Livre de l'Apocalypse dont l'identité exacte a été ouvert à un certain nombre d'interprétations, y compris la Vierge Marie et un symbole matriarcal pour l'Eglise. Le score a été inspiré par une série d'oeuvres d'arts visuels sur le sujet à travers les âges. / Orchestre

Le Sacrifice est mon deuxième opéra, écrit pour WNO et a été créée en 2007. Il est basé sur l'une des histoires Mabinogian, une collection d'anciens mythes du Pays de Galles. C'est une histoire d'amour au milieu d'un conflit civil ou clanique, et déboucher sur un acte suprême de l'auto-sacrifice qui guérit finalement la haine communautaire et apporte la paix et d'espoir renouvelé. Dans sa première production qui a placé l'action dans un proche avenir, plutôt que d'un passé mythique.Il ya un certain nombre d'interludes orchestraux qui relient les scènes dans un flux continu dans chacun des trois actes. Trois sont extraits ici pour faire une suite de concert.1) The PartingAprès une assignation finale secret, les deux amants, Sian et Evan se séparent, avant le mariage qui apportera les deux tribus ensemble. Il a été convenu que Sian veut se marier une fois, le chef de l'autre côté. Les deux ont le coeur brisé, mais se sont engagés à faire leur devoir pour sceller la trêve.2) PassacagliaLes clients des deux groupes de belligérants se réunissent pour la fête de mariage. Elle mettra fin à la violence.3) L'investitureSept ans plus tard, une autre tentative est faite pour rapprocher les deux communautés. Gwyn, le jeune fils de Sian et de Mal, est d'être 'couronné', comme un symbole de l'unité souhaitée. Les foules se rassemblent au cours de cette musique. La scène se termine dans les assassiner de l'enfant, par Evan. / Orchestre

Third Part Of The Orchestral Triptych Triduum-Symphony: ‘Vigil’ (1997) is the last of three interrelated works forming Triduum commissioned by the London Symphony Orchestra the other works being The World’s Ransoming for cor anglais and orchestra and the Cello Concerto (both 1996). All three relate to the historical events and religious liturgies of the Easter Triduum namely Maundy Thursday Good Friday and the Easter Vigil. The symphony’s first movement ‘Light’ deals with the promise of a glimmer of light in the darkness. The central movement ‘Tuba insonet salutaris’ (Sound the trumpet of salvation) is based on the Exsultet melody sung at the Easter Vigil described by Mozart as probably the mostbeautiful ever written. The final movement ‘Water’ opens savagely but subsides towards the presentation of two conflicting principal materials a wild ecstatic dance followed by a slower more mysterious texture leading to a climax and a luminous floating close.

Unlike MacMillan’s first three symphonies Symphony no 4 (2014 15) is essentially abstract. Here he is interested in the interplay of different types of material following upon a fascination with music as ritual that has stretched from Monteverdi in the early 17th century through to Boulez and Birtwistle in the present day. There are four distinct archetypes in this work which can be viewed as rituals of movement exhortation petition and joy. It is also a homage to Robert Carver (c1487 after 1566) the most important Scottish composer of the High Renaissance. There are allusions to Carver’s 10-voice Mass Dum sacrum mysterium embedded in the symphony and at anumber of points it emerges from across the centuries in a more discernible form: the vocal lines are muted and muffled literally in the distance as they are played delicately by the back desks of the violas cellos and double basses.

Composed in the summer of 1984 Yorkshire Ballad was premiered at the Kansas Bandmasters Association Convention by Claude T. Smith and the Kansan Intercollegiate Band. Since its publication it has become one of the composer'smost popular works and has been arranged for a variety of ensembles. The composer writes “I composed this little piece so that younger players would have the opportunity to play a piece that is more or less in the style of(Grainger's) Irish Tune from County Derry.”

This dramatic work for young players is intended to portray a noble mystical pursuit of some great conquest or accomplishment. Full of driving percussion resolving tone clusters dramatic brass writing and spectacular tutti musical statements it also features easy passages for solo oboe bassoon and piccolo. This piece is a great choice for excellent middle school or smaller high school bands. It is generously cross cued to be performed with limited instrumentation.

'Realms of Endless Day' is a fantasy setting of the hymn tune melody, 'Picardy.' This melody, thought to have been named for the region in France where it is believed the melody originated, is also the melody for the hymns 'Let All Mortal Flesh Keep Silence' and 'Christians, Let Us Love One Another,' as well as the 'Hymn of Saint James.' This enduring and tuneful melody is given three contrasting statements that gradually build to an exciting conclusion. This piece is scored for full orchestra by arranger Michael Kamuf, but will work quite effectively with strings alone. (3:30) / Orchestre

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

Score-'RiverRun' was Steven Albert's third work inspired by the writing of James Joyce. The opening movement ‘Rain Music’ is meant to convey the origins of a river. After the sharply accented chords of the movement's introduction themusic becomes quieter suggesting an atmosphere of expectancy. The lightly scored second movement ‘Leafy Speafing’ has a languid cadenza-like opening on alto flute followed by a more tightly focused thematic idea from thesolo viola. The two instruments then engage in a quiet dialogue against the softly changing chords.The third movement ‘Beside the Rivering Waters’ is a fragmented march and scherzo. It opens with a children'ssong. The march for the pit band follows and we are engulfed in a boozy wake. The scherzo brings a return of the current then the march returns abruptly followed by the children's tune - which is in turn transformedinto a raucous pub song. Throughout the fourth movement ‘RiversEnd’ musical ideas from the preceding movements are recalled. Night is falling and the river is moving quietly into darkness. As it approaches the open sea itsmomentum builds and it soon becomes a torrent spilling into the ocean. The work ends quietly.

Score-The first movement of A Symphony: New England Holidays. A Charles Ives Society Critical Edition edited by James B. Sinclair.