Variations on Ein' feste Burg. Par SPARKE PHILIP. Philip Sparke a composé Between the Two Rivers à l’occasion du centenaire de la Fanfare Prins Hendrik (1904-2004) de la ville d’Aalst aux Pays-Bas. Le titre de cette composition trouve son origine dans le fait que la ville est enserrée entre deux affluents de la rivière Dommel. Aalst est une cité pieuse. La création d’un ensemble de variations sur le thème du célèbre choral luthérien Ein’ feste Burg (C’est un rempart que notre Dieu) s’imposait comme une évidence. Between the Two Rivers est une oeuvre fluide, lyrique, mystérieuse et élégante. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par SPARKE PHILIP. The Four Noble Truths are the most basic expression of the teaching of Buddha and therefore still form the guidelines for Buddhists to this day. The four truths are Dukkha, which describes times of major stress in our lives - birth, aging, desire and death; Samudaya which describes those parts of our life that induce stress, feeling, craving, desire; Nirodha which tells us how to eliminate those aspects of our lives which induce stress and Magga which describes the eight didciplines which can help us eliminate the origins of stress from our lives. It can be seen from these over-simplified definitions, that the Four Noble Truths fall into two pairs, the first two describingthe origins of stress and the second two describing how we can reduce stress. To reflect this, the four movements of this work are also combined into two pairs - two quick movements and two slow movements. A fascinating work from this great English composer. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band

Par VAN DER ROOST JAN. This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept. The name, ConZEnSus, comes from a combination of the words, ‘Concert Cyclus’ (concert series) and ‘zes’ (Dutch for ‘six’). This leads to a new word, which refers to ‘consensus’. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages. / Niveau : 4 / Ouverture / Répertoire / Concert Band ou Harmonie

Par KIDD BRYAN. This is one to get excited about! In the style of a “patrol” march, THE ROAD TO CHANCELLORSVILLE takes us back to that pivotal point in history, the American Civil War. The Battle of Chancellorsville is regarded as Confederate General Robert E. Lee’s most brilliant victory, but the cost was so high that the Secessionist forces never really recovered. They were forced to surrender less than two years later. Opening with light percussion and just two piccolos (substitute two flutes if necessary) this bright and easy march builds relentlessly from beginning to end. March into history with THE ROAD TO CHANCELLORSVILLE. / Niveau : 2 / Marche / Répertoire / Concert Band ou Harmonie

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

Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band ou Harmonie et Clarinette

Par DE HAAN JAN. Two for Band was written to introduce beginner players to ensemble playing as early as possible. Thanks to the low grade of difficulty of this piece this it is possible to play in a ‘real band’ after only a few lessons. Because of the four-part instrumentation, Two for Bandis suitable for smaller strengths, taking into account that it is important to divide parts evenly among the players. Also includes an ad-lib keyboard/piano part to support the ensemble. / Niveau : 0.5 / Musique légère originale / Répertoire / Concert Band

Track Clear ~ Laisser Passez !. Par STRAUSS EDUARD. Eduard Strauss, the third son of Johann Strauss the Elder, was born on March 15, 1835, in Vienna. Originally, Eduard looked for employment in the diplomatic service, but he also studied music theory. He became a harpist in the Strauss orchestra in 1855. In 1862, he joined his two famous brothers Johann Jr. and Josef as a conductor of the family orchestra. Like that of his two brothers, his musical output was prolific: he wrote over 320 separate dances and marches. Apart from the exuberant Bahn Frei (Track Clear), which he wrote in 1869, and a handful of other fast polkas (he excelled in this particular dance form), his music is not as well known as that of his brothers. / Niveau : 2.5 / Transcription / Date parution : 1905-06-26/ Répertoire / Concert Band

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 ou Harmonie

Par HANNICKEL MIKE. Two melodies in the Scottish style meet head-on in this energetic new arrangement. Your students will love the “bagpipe sound” and rhythmic color of the Scottish “snap”. This arrangement can also be used with young bands as a lesson in the concept of counterpoint. Each of the two main themes is clearly stated on its own, but remarkable things happen when they are played together. Through skillful selection of themes and contrapuntal composition, Mike Hannickel does a masterful job of melding these contrasting songs into a unified and energetic adventure into the Highlands. Fun to play, and a great style study! / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie

Par RAE JAMES. James Rae is the man who put fun into woodwind and brass teaching. His many compositions, especially in the jazz and blues idioms, have often featured on examination syllabuses. Recent years have seen his publications of easy flexible ensembles for younger players and now he turns his attention to the wind band. In his new series “The Concert Band Collection”, he has written exciting new pieces for the standard concert band line up. Attention is given to each instrument so that the technical and musical requirements do not exceed UK Grade 2.5. An optional piano part will provide “stuffing” and moral support for the young players who will quickly enjoy James’ catchy and imaginative music. Each volume contains two titles. Each volume features two titles. This one includes the haunting and nostalgic waltz “Secret Fairground” and a dynamic masterpiece called “Blue Strut”. A score of this edition (without the parts) is available with the number UE21793./ Répertoire / Concert Band

Par SPARKE PHILIP. MASQUERADE was commissioned by Stadtmusik Willisau from Switzerland (Reto Güdel, conductor) to celebrate their 175th anniversary in 2003 and first performed by them in November that year. 1. OvertureThe first movement opens with a fanfare-like figure, featuring the brass, before the main them is introduced over staccato chords. After a short, syncopated interlude a legato theme is introduced in the tenor register and material is developed until the music slows temporarily. The opening theme returns and the ‘tenor’ tune is taken up by the whole band until the opening fanfare returns to close the movement. 2. ElegyThe slow movement opens intensely with a bare two-part theme, whichleads to a passionate chorale-style melody. A second theme is introduced and leads to a climax, a return of the chorale theme and a pianissimo repeat which again leads to a full-band climax. The two-part theme returns quietly to create a peaceful close. 3 InterludeA short movement which changes the mood to introduce:- 4 FinaleThree violent chords preface a lively syncopated opening theme. The trumpets introduce a second idea, which is treated fugally, and this in turn leads to the main melodic idea of the movement, over staccato chords. A contrasting subject is then introduced in the middle of the band, followed by echoes of the first movement fanfare. The opening theme returns and material is revisited until the opening fanfare returns in full to end the work triumphantly. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band