Written in honor of the renowned director of the University of Michigan bands H. Robert Reynolds William Bolcom has created an impressive new work for the concert band repertoire. With poignant melodies and warm textures thisdramatic piece is destined to become a classic.

Création 25/09/2014 - Strasbourg, Festival Musica, Théâtre National de Strasbourg, salle Koltès - Les Percussions de Strasbourg Commanditaire l'Etat pour les Percussions de Strasbourg Notice Ecrite pour le cinquantième anniversaire des Percussions de Strasbourg, Burning Bright emprunte son titre à l'un des plus célèbres poèmes de la littérature anglaise, The Tyger de William Blake, publié en 1794. Dans ce poème incandescent, William Blake exalte le choc des contraires, véritable matrice du monde et condition originaire de toute manifestation de la puissance créatrice. Le conflit primordial de l'innocence et de l'expérience, ces deux états extrêmes de l'âme humaine, traverse tout l'oeuvre poétique de Blake, lui imprimant sa dimension tragique et son style visionnaire. Non-conformiste et libre-penseur, violemment hostile à la moralité répressive ainsi qu'à toute forme d'oppression théologique et politique, Blake prit le parti de la Révolution française et dénonça la mise en esclavage des noirs d'Amérique, sans renoncer à une forme de quête mystique - dans la lignée de Dante et de Milton -, seule capable à ses yeux d'exprimer la splendeur des illuminations intérieures. La fureur éruptive et hallucinée de ses visions inspire crainte et effroi. Plongé dans les abîmes d'une condition de misère, l'homme peut néanmoins voir sourdre dans le monde une lumière brûlante qui lui indique, sans promesse aucune, la possibilité d'un règne autre que celui des prédateurs. Conçu d'un seul tenant, tel un immense adagio à la manière de Bruckner, Burning Bright est une vision poétique en rupture avec les types de délimitation propres à la tradition, contours ou clôtures. La musique s'élève par couches, par nappes, ou se déploie par émergences amples et diffuses. Les timbres dessinent leur propre espace de résonance et se disposent en profondeur, dans la fuite indéfinie d'un horizon. Les sons enflent, se diffusent ou se tordent, s'entremêlant comme des fluides ou des gaz. Le travail sur le timbre n'est qu'un art de la retouche. La dérive des masses colorées se substitue aux jeux des configurations formelles propres au siècle dernier. Les techniques de friction prennent le pas sur celles de la percussion. A l'instar du poème de Blake, Burning Bright mobilise les énergies premières: un drame sans récit ni anecdote, une forme donc qui s'engendre et recherche son unité au travers de secousses telluriques. L'espace immense que l'on y découvre, un espace à la Kubrick, pourrait bien devenir, malgré les espoirs de notre époque, celui d'un éternel confinement. Hugues Dufourt

Danish and English title included.Anthem for S-solo SSATB and organ.Danish title: Hør min bøn O Herre.

Arthur Sullivan's Overture From The Pirates Of Penzance arranged for amateur Orchestra by William H. Irving. This arrangement is playable by any combination which includes 1st Violin and Piano. Technical demands have been kept to approximatley Grade 4 except for the Piano part which requires a more advanced technique and the ability to adapt the part to the requirements of the group. The 3rd and 4th Horns 2nd Trombone and Tuba are optional.

This was written for Barbara Bonney who had told Previn that she might be related to Billy the Kid (William H. Bonney). Previn discovered a collection of memories of Billy the Kid by women who had loved him. One of these women Miss Sallie Chisum expressed herself with such warmth and pungency that Previn was at once attracted to the character.

23 pieces selected from 60 years of Pianoforte examinations of the ABRSM. Includes works by George Dyson Thomas Dunhill and William Alwyn.

Facsimile of the autograph score in the British Library, London. Par HAENDEL GEORG FRIEDRICH. The first performance of George Frideric Handel’s oratorio “Messiah” on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined “the Sublime, the Grand, and the Tender”. Its success has remained undiminished ever since, and the “Messiah” has taken its place in musical life. In 2009, to mark the 250th anniversary of Handel’s death, the British Library and Bärenreiter joined forces and made the autograph score of the “Messiah” available to the public in a meticulously reproduced, lavishly published facsimile. The renowned Handel scholar Donald Burrows introduces the characteristics of Handel’smanuscript, describes the history of the work’s composition, and explains the differences between later versions of the “Messiah”, as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication. Facsimile of the autograph in the British Library. 282 + 2 pages of facsimile and 55 pages of introduction (English/German/Japanese) half-linen, hardback / Oratorio / Répertoire / Divers

The first performance of George Frideric Handel’s oratorio “Messiah” on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined “the Sublime, the Grand, and the Tender”. Its success has remained undiminished ever since, and the “Messiah” has taken its place in musical life.

In 2009, to mark the 250th anniversary of Handel’s death, the British Library and Bärenreiter joined forces and made the autograph score of the “Messiah” available to the public in a meticulously reproduced, lavishly published facsimile.

The renowned Handel scholar Donald Burrows introduces the characteristics of Handel’s manuscript, describes the history of the work’s composition, and explains the differences between later versions of the “Messiah”, as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication. / [Le Messie HWV 56] / Classique / Fac-similé /

Choral Part-It was H.M.S. Pinafore that really established Gilbert and Sullivan in British comic theatre. This edition is the vocal score for the chorus which has been skillfully adapted by M.J. Arnold for 2pt chorus.

Handel’s opera Scipio was produced in 1726 and remains one of his less frequently performed works. The original production was beset by the problems of the withdrawal of a solo singer and an extremely short time span for composition. Handel made changes in later productions but the most famous element of the opera remains this stirring March.The March was arranged for Organ by William Thomas Best a masterful Organist of the 19th century whose recitals covered the whole field of Organ music. He was solo Organist for all the Handel festivals held at the Crystal Palace for which one may reasonably assume that this arrangement was composed.

The title alone makes us think of musical excellence and Robert Young's setting of the William Austin (1587-1633) poem more than meets the demand. Celebrating the incarnation of Christ this piece contains the classic sounds forwhich Robert Young has become famous. Excellent for church or concert.

En 1954 William ?Smokey? Robinson (1940) forme le groupe vocal soul The Miracles avec trois camarades du lycée. Quatre ans plus tard Smokey croise la route de Berry Gordy fondateur du label Tamla Motown qui va vite comprendre le potentiel de cet artiste qui compose aussi bien qu?il chante. Smokey Robinson & The Miracles permettront à la Motown de devenir une valeur sûre dans le monde de la musique. Le groupe va survoler le haut des hit-parades durant toutes les années 60. En 1967 ils sortent leur plus grand succès Tears Of A Clown co-écrit avec Stevie Wonder.