Concerto Solo no. 1. Par ROUGNON PAUL. French composer, pianist and teacher, Paul Rougnon (1846-1934) studied at the Paris Conservatoire under many prolific musicians of the time, including Cesar Franck. Rougnon 's composition catalogue is extensive, with many works remaining popular to this day, including his First Concert Solo for Trumpet or Cornet and Piano. The date of composition is unknown, however Rougnon 's First Concert Solo displays characteristics of early, French romantic music, such as chromaticism, flourishing semiquaver passages, complex rhythms and extensive use of performance directions. For all advanced, aspiring Trumpetand Cornet players, Rougnon provides an alternative, exciting performance work./ Répertoire / Trompette en Do ou Sib et Piano

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for the instrument are at the forefront of the instrument's repertoire Ballade being no exception. After a prominent career as a flautist with the Paris Opéra he was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his famous Ballade which premiered in 1927. Addressing many technical features including flourishing semiquaver passages and awide range Ballade is a challenging yet riveting and stirring piece for aspiring flautists.

Par GAUBERT. Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for the instrument are at the forefront of the Flute's repertoire, Sonata No. 3 being no exception. After a prominent career as a flautist with the Paris Opera, he was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Sonata No. 3, which was published in 1934. Addressing many technical features, including flourishing semiquaver passages, a widerange, emotion, intervals, chromaticism and complex rhythms, Sonata No. 3 is a challenging yet riveting and stirring piece for aspiring flautists./ Répertoire / Flûte Traversière et Piano

South Indian Female Playback Singers and Stardom 1945-1955-Her Majestic Voice contains previously untold histories and biographies of playback singers from South India. Southern cinema is usually skipped when Indian cinema is talked about. This fascinating volume contains rare photographs of playback singers and actresses from 1945-1955. The emergence of singers in Bombay Madras and other film industries of India as musical models to be admired and remembered coincided with the ascendancy of film songs as the dominant mode of entertainment. In the 1950s many a south-Indian film song belonged to playback singers such as R. Balasaraswati Devi K. Jamuna Rani Jikki Krishnaveni P. Leela and the singingactress P. Bhanumati whose popularity and stardom flourished and remained independent of the 'Bombay influence' and its specific vocal endorsements. Based on personal interviews of the singers extensive archival research on film practices and close textual analysis this work fills a gap in the history of Indian cinema by presenting a compelling account of the ways in which playback stardom developed under specific socio-cultural conditions and was closely connected with ideas of respectability art and artistic talent. An important work on early cinema and unfamiliar song-production practices Her Majestic Voice chronicles a hitherto untold history of struggles artistry and rise to fame while analysing the historical role of playback singers in south India between 1945 and 1955.

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for the instrument are at the forefront of the Flute's repertoire his Two Sketches being no exception. After a prominent career as a flautist with the Paris Opéra Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Two Sketches for Flute and Piano which is made up of two movements. The first of these Night on thePlain conveys many technical features including flourishing semiquaver passages a wide range lyricism intervals chromaticism and complex rhythms. Night on the Plain from Two Sketches is a challenging yet exciting piece for aspiring flautists.

Par WILLS SIMON. Melodrama, sentimentality, vulgarity, and sheer cockney cheek: the Victorian era was a period of extremes. With brass bands abounding in concert halls, bandstands and even street corners, the trombone flourished in this heady social and musical atmopshere. This varied collection of popular Victorian solos ranges from 'Home, Sweet Home!' to Grand Variations on 'Father's a drunkard and Mother is Dead'. With idiomatic arrangements for the intermediate trombonist why not wallow in nostalgia and recreate the spirit of a lost age' / Date parution : 2001-04-19/ Recueil / Trombone et Piano

Par PANUFNIK ROXANNA. Fairfield Fanfare (expanded version) by Roxanna Panufnik is a 4-minute work for youth and mixed choirs, brass band and orchestra. Originally commissioned to celebrate the 50th anniversary of the Fairfield Halls, Croydon in 2012, the opening chords are based on all the alphabetic note names from FA-ir-F(#)-i-E-l-D, heralding a flourishing section of hustle and bustle that is the city of Croydon today. This expanded version includes brass band and choirs, with a setting of the text from Psalm 127. The expanded version was commissioned by the London Mozart Players, who premiered the piece on 30 June 2016 at Fairfield Halls, Croydon. This edition is the full score in C (EP 72880). It is available for sale as part of the Peters Contemporary Library. The performance material can be hired as well as a transposed full score, if preferred. / Date parution : 2022-09-07/ Répertoire / Brass Band, Voix d'Enfants, Orchestre, Voix Mixtes

John has skillfully used a variety of styles and tempos in creating this very effective opener/production number. The opening section is fast and furious before switching to a medium swing groove. There is even a brief bump andgrind before returning to the fast tempo and ending with a flourish!

For Flugel Horn Solo And Brass Band. Par SPARKE PHILIP. Moon Song, Sun Dance was commissioned by flugel horn virtuoso, Claude Romailler, and premiered by him at the Swiss National Solo and Quartet Championships in April 2012. As the title implies, the work is in two contrasting movements, which can be performed separately or together. Moon Song opens with a flowing modal theme, which the soloist embellishes before the band takes centre stage. A central section brightens the mood with a new melody over the lightest of accompaniments; this is once again developed by the soloist until the original theme reappears, played by the band. This introduces a cadenza for the soloist which either closes the movement, or can beextended to link directly to the second movement. Sun Dance is a vivace 6/8 scherzo which opens with a flourish from the band. The soloist then introduces the main theme, which in turn is taken up by the band. A short bridge passage heralds a change of key and a new melody from the soloist. A brief central interlude then introduces a change of meter and recalls the main melody of Moon Song, before a recapitulation leads to a florid coda, which brings the work to a close. Solo part: difficulty 5 / Niveau : 4 / Répertoire / Brass Band

Children and adults join together in this joyful Palm Sunday anthem. Use as a processional complete with waving palms for a real festive touch. Or invite the congregation to join in the well-known “Hosanna! LoudHosanna.” The possibilities are endless but one thing is certain – Palm Sunday will open with a flourish when you use Hosanna Unto the King.

(An Easter Call to Worship). With a lilting musical quote from the Easter hymn Christ the Lord Is Risen Today, this moving introit captures the shining joy of Easter Sunday. Like a dance of life, the music sweeps through the soul with confident and jubilant praise. An excellent flourish for Easter worship, this anthem is arranged for success and will lead naturally into an opening congregational hymn.

In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the sceneof action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appearsto be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen from neighbouring villages are busily at work. In the upperchamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some ofthem sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played byminstrels and of course a plentiful banquet follows.

Shadowplay and Storm-The sensational music from Cirque du Soleil's KA grabs our attention immediately with a crescendo from delicate woodwinds to full band fury. The show is then propelled forward with “Storm ” in a showcase of your band'smusicianship and intensity. A final tempo burst adds a flourish of velocity to this stunning opener.

Jay has crafted a very effective closing production using one of the best known Latin songs ever written. An opening fanfare flourish leads to the strong main theme followed by driving ending segment. This is one act you wouldn't want to follow!