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.

From the classic movie The Hunt For Red October comes this haunting Russian theme by Basil Poledouris. This marvelous setting for younger bands starts softly in a hymn-like setting then moves to a stately march which builds inintensity all the way to the finish. This stirring arrangement is beautifully scored.

St. Michael. Par BOURGEOIS LOUIS. The French composer Louis Bourgeois lived from c. 1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti. / Niveau : 3 / Hymnes et chorals / Répertoire / Fanfare

Par DE HAAN JACOB. Comme le suggère le titre, cette pièce se compose d’une fanfare et d’une hymne. Nordic Fanfare and Hymn a été écrit pour la cérémonie d’ouverture des Championnats du Monde FIS de Ski Nordique d’Oberstdorf en Allemagne. Pour pouvoir être utilisée dans le cadre de diverses cérémonies, cette composition peut être interprétée dans quatre versions différentes. Une version intégrale ; une version constituée d’une courte fanfare jouée par les trompettes (cornets), trombones et timbales ; une version en double fanfare (suivi d’un tutti orchestral) et une version composée d’une fanfare suivi d’un extrait de l’hymne. / Niveau : 3 / Ouverture / Répertoire / Fanfare

From the Paramount and DreamWorks Motion Picture S. Par WILLIAMS JOHN. Quand on pense à Steven Spielberg, on évoque facilement ses films à grand spectacle. Mais c'est occulter l'homme engagé qui a signé plusieurs chef-d'oeuvres dont Saving Private Ryan (Il faut sauver le soldat Ryan) couronné par 5 Oscars. Avec Hymn To The Fallen, le générique de fin, John Williams nous offre un puissant hymne en mémoire aux soldats qui ont sacrifié leur vie sur l'autel de la liberté lors du débarquement en Normandie, le 6 juin 1944. Une note d'humanité dans un océan de noirceur et de violence. / Niveau : 4 / Musique pour célébration / Répertoire / Fanfare

The Hymn of Acxiom was composed by the multi-talented pianist and singer-songwriter Vienna Teng. This is a haunting work complete with engaging melodies expansive harmonies and fluid transitions that move magically from one inventive idea to another. Doug Thrower and Tom Rarick who arranged this work for the sensational Canton Bluecoats provide this score for marching band and in the process thoroughly capture the essence of this musical wonder.