Par RIMSKI-KORSAKOV NIKOLAI. Russian Easter Overture (Ouverture de La Grande Pâque russe) de Nikolaï Rimski-Korsakov est une oeuvre solennelle qui développe des chants religieux de l’Église orthodoxe russe. Tohru Takahashi en a réalisé une transcription aux sonorités très colorées, soulignées par l’adjonction de plusieurs instruments de percussion à clavier. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

Opening with floating woodwinds and an exuberant fanfare in the brass, this work celebrates the renewal of life that we experience each spring at Easter. Festive, dark, and ultimately inspiring, this new piece for concert band will be an uplifting experience for your students and audience. (4:45) / Orchestre D'Harmonie

Easter Fantasy. Par BILKES MICHAEL. Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée à être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double choeur ainsi créé donne à la pièce un caractère varié et divertissant. / Hymnes et chorals / Répertoire / Concert Band ou Harmonie

Includes: At Dawn They Slept (December 7 1941) Farandole (from L'Arlesienne) As All the Heavens Were a Bell Russian Easter Overture The North Face Dies Irae Into the Light Fanfare and Hymn of Brotherhood Nimrod (from Enigma Variations) and Ascensions.

Par CURNOW JAMES. Inspired by the poetry of Henry David Thoreau and Japanese poet Matsuo Basho, this symphonic poem in three movements for winds brings Eastern and Western cultures together, meeting on the common thread of Thoreau's and Matsuo's love of nature. Eastern and Western musical elements are layered throughout, making for a unique effect. / Niveau : 6 / Pièce de concert / Répertoire / Concert Band

Par GYORFFY ISTVAN. Hungarian-style dance music which flourished in the 16th and 17th centuries - generally referred to as ungaresca - represents a valuable part of European musical tradition. István Gyorffy's work (2007-2010) is a late successor of this tradition. It was written with the intention of embodying the eastern-central European tradition in order to present an alternative to the current fashions of music for wind instruments. The composer's approach to this style utilizes traditional forms of music. Both the first and third movements effectively optimize a concert band's tonal possibilities by using solos and small chamber groups in a varied manner. The slow and melodic second movement transfers a characteristic playing technique of Hungarian instrumental folk music to the concert band. István Gyorffy composed Ungaresca for young people preparing for careers in music. The work provides an excellent opportunity for students not only to display their instrumental skills, but also to gain orchestral playing experience./ Répertoire / Concert Band

I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA I decided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication the event featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion. A Bulgar is a Romanian Jewish Dance thatwas very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewish ornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The 'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba and percussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majestic conclusion. --Hankus Netsky

Ancient Desert Drone was composed for Orchestra in 1940 at the request of Percy Grainger who encouraged the idea of using a single pitch drone throughout the work (similar to Grainger's own The ImmovableDo) and to whom the piece is dedicated. While the work suggests an Eastern charm with its distinctive mode and primitive rhythms Cowell himself stated there was no particular programmatic intent. This transcription for bandis an exotic and welcome addition to the repertoire for winds. Dur: 5:00 Recorded by the Trinity University Symphonic Wind Ensemble - James Worman conductor.