Arr. Wil Van Der Beek. Par NESSLER VICTOR E.. Farewell Song has been taken from Der Trompetervon Säckingen by Victor E. Nessler (1841-1890). Thisopera tells the sentimental story of a plain musicianwho is eventually allowed to marry the daughter ofa baron. From the first performance in 1884, thisopera was well liked - not so much because of thestory but because of its musical features. Impressivetrumpet solos, drinking songs and dance scenes werethe ingredients that enthralled audiences throughoutEurope. Today, only the farewell song called JungWerner’s Abschied, also known as Behüt’ dich Gott, has remained an absolute winner. Wil van der Beekhas written a fine arrangement of this entitledFarewell Song. He felt itwas appropriate to entrustthe melody of this song, originally written for tenorvoice, to the baritone or euphonium. / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie et Baryton ou Tuba

Par VAN DER ROOST JAN. Commissioned by the Japan Band Clinic Committee of Yamaha for the Nemu Band Directors Clinic in Nemu no Sato, May 18-20, 1997. The surprising title of this work is an indication of its content. By combining the somewhat similar names ‘Nemu no Sato’ and ‘Susato’ into a new word, Jan Van der Roost has produced a significant and interesting subject. The Yamaha corporation has extensive facilities in Nemu no Sato, Japan, including a concert hall, recording studios, hotel and so on. Concerts, workshops, clinics and other events are held here, including the annual Nemu Band Directors Clinic, which consists of numerous musical events. Jan Van der Roost served as guest conductor andspeaker in 1994. He was invited again for the 1997 clinic, this time with a composition assignment. The difficulty level of his new piece was to be Grade 2 - 3 bands. With this in mind, Mr. Van der Roost strove to create a renaissance-like sound. Simultaneously he wished to create a tribute to Tielman Susato who, like Jan Van der Roost, lived and worked in Antwerp in the 16th century. The first performance of Nemu-Susato was conducted by the composer, performed by the Tokyo Metropolitan Police Band, and took place during the Nemu Band Directors Clinic on May 19, 1997. / Niveau : 3 / Pièce de concert / Répertoire / Fanfare

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. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ 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

Eb Alto Saxophone Solo and Fanfare Band. Par SCHWARZ OTTO M.. Otto M. Schwarz a composé Saxpack pour le centenaire de la Musique de la Police de Vienne. Gert Kolaja, l’un des saxophonistes les plus prolifiques d’Autriche, est membre de cet orchestre professionnel. Animé par un esprit de curiosité et soucieux d’élargir le répertoire pour Orchestre d’Harmonie, Otto M. Schwarz développe des passerelles entre les styles et les genres. Saxpack décrit une scène de crime montée de toutes pièces avant de nous entraîner dans une course-poursuite haletante dans Vienne la nuit. Le contenu est résolument moderne et comporte un grand échantillon des techniques et des effets spéciaux développés par les saxophonistes d’aujourd’hui. La structure préserve de multiples espaces d’improvisation du soliste qui alterne entre le saxophone soprano et le saxophone alto. Saxpack fera le bonheur des saxophonistes, de l’orchestre et du public. / Date parution : 2021-12-09/ Répertoire / Saxophone Alto et Fanfare

Par PASTORE CARMINE. Fun for all!! The chorale style opening soon turns into a rousing, funky-jazzy-gospel riff-style roof-raiser that will have your audience tapping along. It's nice for the concert band to get the opportunity to play something 'jazzy' once in a while, and you know the audience will love it as much as the band does. Plenty of opportunity to study jazz-style phrasing in the concert band, interesting Percussion parts, a catchy tune and good linear motion for all move GETTIN' GOSPEL to the 'top of the list'. The only danger here is that the band might like it a little TOO much, and want to play it every day. / Niveau : 2 / Musique légère originale / Répertoire / Fanfare

for Flute or Alto Saxophone and Band. Par DE HAAN JANN. A Touch of Klez! est écrite pour flûte ou saxophone alto et orchestre d’harmonie. L’œuvre est fondée sur trois mélodies klezmer : « Ani Purim », « Shlof Mayn Kind » et « Freilachs Fun L.A. ». Né en Europe de l’Est durant le haut Moyen Âge, le klezmer est une forme de musique yiddish destinée, à l’origine, aux fêtes de mariage. Au XXe siècle, en Europe, les mélodies klezmer ont absorbé d’autres styles ; en Amérique, le jazz a eu une influence notable sur cette musique fascinante./ Répertoire / Flûte ou Saxophone Alto et Orchestre d'Harmonie

Storm of the Century. Par SCHWARZ OTTO M.. Introduction De nombreuses personnes se souviennent parfaitement du 18 janvier 2007. Ce jour-là, les services météorologiques avaient lancé plusieurs'bulletins d?alerte annonçant l?arrivée imminente de « la tempête du siècle ». Une dépression frontale venue de Terre-Neuve allait toucher'l?Europe sous la forme de vents tempétueux particulièrement violents. Kyrill, la pire des tempêtes depuis des décennies, devait toucher terre'en Allemagne dans l?après-midi. De nombreuses écoles furent fermées et les services d?urgence placés en état d?alerte maximale. Malgré ces'précautions, les événements qui suivirent dépassèrent de loin les plus sombres prévisions. Il y eut des morts, des blessés et des dégâts énormes'dans toute l?Europe. La région du Sauerland en Rhénanie-du-Nord-Westphalie (Allemagne) fut particulièrement touchée par la tempête. Kyrill sema la désolation'sur son passage, laissant des dizaines de foyers sans toit et des forêts éventrées. La filière bois a vu les fruits de plusieurs décennies de travail'anéantis en quelques heures. Des arbres vigoureux furent déracinés comme de vulgaires fétus de paille. Des forêts en ruines Si les vents tempétueux de Kyrill s?abattirent sur toute l?Europe, ils dévastèrent la région allemande du Schmallenberger Sauerland comme nulle autre. Ce jour-là, Otto M. Schwarz était chez lui, en Autriche. Il assista au passage de la tempête, mais ne prit véritablement conscience de ses conséquences dramatiques qu?à son arrivée à Bad Fredeburg (Sauerland) où il participait à une conférence organisée par le'Volksmusikerbundes NRW (Association pour la promotion des musiques traditionnelles en Rhénanie-du-Nord-Westphalie). Ernst Willi'Schulte, le directeur de l?association, lui montra alors l?étendue des dégâts sur le paysage de la région du Schmallenberger Sauerland. Force lui était de constater que la tempête qui avait balayé son Autriche natale était sans commune mesure avec la violence supportée par cette région allemande touchée de plein fouet par Kyrill. / Date parution : 2022-07-23/ Répertoire / Fanfare

Par MASHIMA TOSHIO. Toshio Mashima composed this work for the 40th anniversary of the concert band of the Kwansei-Gakuin University in Japan. The composition is based on the biblical story of the patriarch Jacob, who in a dream sees a ladder reaching into the sky. This story or its symbolism has inspired many artists - the rungs of the ladder representing the virtues through which man climbs during his lifetime. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

from the Gadfly. Par CHOSTAKOVITCH DIMITRI. Romance est la plus célèbre page de la bande originale composée en 1955 par Dimitri Chostakovitch pour le film Ovod (Le Taon) du réalisateur russe Alexander Feinzimmer. Ce film en costume d’époque est une adaptation du roman The Gadfly ( Le Taon - 1897) d’Ethel Lilian Voynich, née Boole. Cette charmante mélodie a connu une seconde jeunesse dans les années 1980, en tant que générique de la célèbre série télévisée Reilly: Ace of Spies (Reilly, l’As des Espions) qui raconte les aventures de Sidney Reilly, le plus grand espion britannique. La version originale est écrite pour Violon et Orchestre. Cet arrangement élégant et charmant d’Ed Keeley consacrele saxophone alto. / Niveau : 3 / oeuvre solo et Orchestre / Date parution : 1905-06-29/ Répertoire / Saxophone Alto et Concert Band ou Harmonie

for bassoon and concert band. Par AULIO MAXIME. Nicolaï Rimski-Korsakov disait du basson qu'il était ' sénile et fourbe en Majeur, souffrant et triste en mineur '. Dans le grave et en staccato, il est indéniablement comique, grotesque et bouffon. Cette diversité de caractère avait déjà inspiré la Commedia dell'arte qui confia à Signor Fagotto l'un des rôles comiques essentiels. Au XVIIIe siècle, selon l'usage de l'opéra-comique italien (opera buffa), la voix était doublée par un instrument à vent. De Signor Fagotto au basson, l'instrument qui allait le seconder, il n'y avait qu'un pas. C'est aussi à cette époque que le basson devient un instrument soliste à part entière. Vivaldi lui consacrera près de 40 concertos. Sans doute a-t-il été conquis par sa personnalité généreuse, comme bien d'autres compositeurs dont Maxime Aulio. Il Signore Fagotto débute avec une introduction orchestrale brillante. Le soliste expose ensuite le thème premier de l'oeuvre. L'utilisation presque constante d'un chiffrage de mesure irrégulier (7/8) permet au basson d'accentuer son caractère espiègle et charmant, tout en laissant à l'auditeur un espace de liberté suffisant pour imaginer les facéties du personnage. Il Signore Fagotto est une oeuvre captivante pour l'accompagnement orchestral et qui offre au basson une superbe partie soliste.Il Signore Fagotto a été donné en création mondiale le 24 avril 2002 par Laurent Le Chenadec (basson) accompagné de l'Orchestre d'Harmonie du Conservatoire National de Région de Toulouse. / Niveau : 5 / oeuvre solo et Orchestre / Date parution : 1905-06-30/ Répertoire / Basson et Concert Band ou Harmonie

Par HIROSE HAYATO. En 2006, Hayato Hirose compose Tower of Babel (La Tour de Babel), une oeuvre dédiée à son professeur et maître, le compositeur belge Jan Van der Roost. L’oeuvre a été donnée en création mondiale, le 20 septembre 2006 à Louvain en Belgique, par l’Orchestre d’Harmonie de l’Institut Lemmens placé sous la direction du compositeur. Après le Déluge, les rescapés de l’Arche de Noé eurent une descendance nombreuse. Partis de l’orient, ils trouvèrent une vallée au pays de Shinéar et ils s'y établirent. Afin de ne pas être dispersés sur toute la surface de la terre, ils décidèrent de bâtir une ville et une tour - la Tour de Babel - dont le sommet toucherait le ciel. Inquiet du dessein des fils des hommes, l’Éternel descendit pour voir la ville et la tour qu’ils bâtissaient. Il confondit leur langage afin qu'ils ne se comprennent plus les uns les autres. Ainsi, ils cessèrent de bâtir la ville, et de là L’Éternel les dispersa sur toute la surface de la terre. (Genèse 11 : 1-9) Hayato Hirose s’est inspiré du célèbre récit biblique selon l’Ancien Testament pour composer cette oeuvre à programme dramatique en sept mouvements, qui s’enchaînent sans interruption. 1. La Tour de Babel2. Venus de l’orient3. La construction de la tour4. L’espoir5. Les inquiétudes de l’Éternel6. La confusion7. La dispersion / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Saxophone Alto

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

Arctic Funk might just as well have been a flashing sequel to a scene from Leonard Bernstein's West Side Story. Popular music but with a difference as indicated by the title. The work's quiet section temporarily soothes down the heated passion of its two corner movements but everywhere else action is required throughout. The work was commissioned in 1991 by Troms? Brass. Situated just above the Polar Circle Troms? is one of Norway's northernmost towns. Topographically the town probably comes across as freezing cold but Troms? is famous for its 'warm' night-life. The Composer: In Arctic Funk you might get a feeling of a party that takes place betweenice-rocks and snow-capped mountains.