Format : Score
SKU: HL.50578045
SKU: BT.AMP-322-140
9x12 inches. English-German-French-Dutch.
Named after the leaf displayed on Canada’s flag, Maple Leaf Overture was composed specifically to open a Canadian school’s symphonic band tour of England. A short fanfare during the overture smoothly transitions to a jazzy, syncopated section. The main theme is first played by the horns and saxophones, and then by the entire ensemble. This lively theme then alternates with a slower second theme, building momentum before a brisk coda culminates in a rousing finale!Maple Leaf Overture gaat natuurlijk over het bekendste herkenningsteken van Canada: het blad van de esdoorn, in de vlag. Sparke componeerde dit openingswerk speciaal voor een Canadees schoolorkest uit Calgary, voor hun tour door Groot-Brittannië.Een korte fanfare gaat in deze ouverture naadloos over in een jazzachtig, syncopisch vivo. Eerst nemen de hoorns en saxofoons het hoofdthema voor hun rekening. Daarna speelt het hele orkest dit thema. Spanning ontstaatwanneer het snelle hoofdthema een langzaam tweede deel afwisselt. Daarna keert het snelle hoofdthema weer terug. Een snel coda beëindigt de ouverture. Maple Leaf Overture: feestelijk en sprankelend!Maple Leaf Overture trägt das kanadische Wahrzeichen, das Ahornblatt im Titel. Eine kurze Fanfare geht in dieser Ouvertüre nahtlos in eine jazzig synkopiertes Vivo über. Das Hauptthema dürfen erst die Hörner und Saxophone vorstellen, dann spielt das gesamte Blasorchester. Es entsteht Spannung durch den Wechsel zwischen dem schnellen Hauptthema, einem langsameren zweiten Thema und zurück, bevor eine schnellere Coda das Werk beendet.Maple Leaf Overture porte l’emblème du Canada (la feuille d’érable) jusque dans son titre… Ce morceau, composé par Philip Sparke, a été joué par l’Orchestre Symphonique du Lycée de Calgary dans le cadre de sa tournée en Angleterre. La pièce s’ouvre avec une fanfare maestoso, puis un passage en tempo vivo introduit peu peu des rythmes syncopés de style jazzy. Un motif plus doux nous conduira progressivement vers un apogée où le thème central réapparaît. Le morceau se termine par une brève référence la fanfare d’ouverture, suivie d’une rapide coda.Maple Leaf Overture, il cui titolo riporta all’emblema della bandiera canadese (la foglia di acero), è un brano commissionato a Philip Sparke dall’Orchestra Sinfonica di un liceo di Calgary che l’ha eseguita in occasione di una serie di concerti tenutisi in Inghilterra. Il brano apre con una fanfara maestosa che alterna fraseggi affidati alle varie sezioni della banda. Questa successione omogenea in un tempo vivo introduce progressivamente ritmi sincopati in stile jazz. Un tema principale, all’inizio eseguito dai corni e dai sassofoni, sar in seguito ripreso da tutto l’organico. Segue un motivo più dolce che si intercala progressivamente verso un’apoteosi nella qualeviene riproposto il tema principale. Il brano si conclude con un breve richiamo alla fanfara di apertura, seguita da una rapida coda.
SKU: HL.44010385
UPC: 884088365240. 9x12 inches. English-German-French-Dutch.
2008 marked the 400th anniversary of the 1608 founding of Quebec City in Canada. The Band of Les Voltigeurs de Quebec, an infantry regiment of the Canadian forces, commissioned this piece as part of the anniversary celebrations.The folk songs of Quebec share, for obvious reasons, a history with the folk songs of France, but many can also claim to originate in Canada. All three movements of this suite use different settings of the evocative “La'-haut sur ces montagnes” as an introduction, and are then based on two popular folk songs. The first movement uses “Veillée rustique” and “Petit Jean,” the second uses “À la claire fontaine” and “Vive les matelots,” and the third is based on “C'est l'aviron” and “Au cabaret.&rdquo.
SKU: BT.1536-08-130-MS
In 1973 Juan Carlo Calderón wrote Eres Tu for the Spanish Basque pop group Mocedades. The song was placed second in that years Eurovision Song Contest and is one of only five Spanish language songs to get into the US top ten. Subsequently the song was translated into 15 different languages including an English version entitled Touch the Wind. This romantic ballad is a great inspirational item that will be well received by your audience. In 1973 schreef Juan Carlos Calderón het nummer Eres tú voor de Baskische groep Mocedades, die er de tweede plaats mee bereikte op het Eurovisiesongfestival. Daarna werd het een wereldwijde hit. Het arrangement van Roland Kernendoet niet onder voor het origineel. Geef met deze song een romantisch en herkenbaar tintje aan uw volgende concert.Im Jahr 1973 schrieb Juan Carlos Calderón Eres Tu für die baskische Gruppe Mocedades, die damit den zweiten Platz beim Grand Prix d’Eurovision belegte. Danach trat das Lied einen Siegeszug um die ganze Welt an: Es wurde in nicht weniger als 15 Sprachen gesungen, darunter auch in der deutschen Fassung Das bist du. Höchste Zeit also, den romantischen Song auf Ihre Bühne zu bringen! Mocedades est un groupe basque originaire de Bilbao. En 1973, il se classe deuxième au Concours Eurovision avec la chanson Eres tu (C’est pour toi) souvent citée comme une des plus belles chansons de l'Eurovision. On la doit un célèbre musicien espagnol, Juan Carlos Calderon. Eres Tu connaîtra un succès immense travers l'Europe, en Amérique latine et deviendra même un standard dans sa version anglaise Touch the Wind aux États-Unis et au Canada. Le thème est universel : l'amour inconditionnel.
SKU: BT.1536-08-140-MS
SKU: BT.1536-08-120-MS
In 1973 Juan Carlo Calderón wrote Eres Tu for the Spanish Basque pop group Mocedades. The song was placed second in that years Eurovision Song Contest and is one of only five Spanish language songs to get into the US top ten. Subsequently the song was translated into 15 different languages including an English version entitled Touch the Wind. This romantic ballad is a great inspirational item that will be well received by your audience. In 1973 schreef Juan Carlos Calderón het nummer Eres tú voor de Baskische groep Mocedades, die er de tweede plaats mee bereikte op het Eurovisiesongfestival. Daarna werd het een wereldwijde hit. Het arrangement van Roland Kernendoet niet onder voor het origineel. Geef met deze song een romantisch en herkenbaar tintje aan uw volgende concert.Mocedades est un groupe basque originaire de Bilbao. En 1973, il se classe deuxième au Concours Eurovision avec la chanson Eres tu (C’est pour toi) souvent citée comme une des plus belles chansons de l'Eurovision. On la doit un célèbre musicien espagnol, Juan Carlos Calderon. Eres Tu connaîtra un succès immense travers l'Europe, en Amérique latine et deviendra même un standard dans sa version anglaise Touch the Wind aux États-Unis et au Canada. Le thème est universel : l'amour inconditionnel.
SKU: FJ.ST6277S
English.
Add some contrast to your winter program with this haunting French folk tune, which also happens to be one of Canada's oldest Christmas songs. Drawing inspiration from the Hurons, an American tribe of the Iroquoian family, the work includes an optional percussion part that adds authenticity to the Gregorian-style melody. A wonderful departure that is an ideal addition to a winter or multicultural program.
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: BT.1221-05-140-MS
Bryan Adams is one of the most successful rock singers of modern times with his raspy voice and his ability to sing rock songs as skilfully as expressive ballads contributed to his fame. Wolfgang Wössner, a great fan of Bryan Adams, has made a selection of the most appealing and successful songs by the Canadian singer and arranged them to form a medley for concert band. The medley includes the following titles: Everything I Do, I Do it for You from the movie Robin Hood, The Best of Me, Please Forgive Me and Summer of ’69. This mixture of ballads and rock songs will ensure everyone will leave your concert humming one of their favourite Bryan Adams hits.De Canadese rockzanger Bryan Adams is vooral bekend om zijn rauwe stemgeluid en zijn talent om zowel stevige rock als gevoelige ballads te brengen. Wolfgang Wössner, een grote fan van Bryan Adams, maakte een keuze uit de beste songsen verwerkte ze in een grootse medley voor harmonieorkest, met de nadruk op de mix van ballads en rocksongs. Met Everything I Do, I Do it for You, The Best of Me, Please Forgive Me en Summer of ’69.Bryan Adams zählt zu den erfolgreichsten Rocksängern unserer Zeit. Vor allem seine raue Stimme und sein Talent sowohl harte Rocksongs als auch gefühlvolle Balladen gleichermaßen gekonnt zu interpretieren, machten ihn so berühmt und beliebt. Wolfgang Wössner, ein großer Fan von Bryan Adams, hat die schönsten und erfolgreichsten Songs des Kanadiers ausgesucht und in einem großen Medley für Blasorchester arrangiert. Eine gelungene Mischung aus Balladen und Rocksongs!Au milieu des années 1980, Bryan Adams connaît un immense succès avec des ballades rock telles qu’Everything I do, I Do It for You (Robin des Bois) qui s’est vendue plus de huit millions d’exemplaires travers le monde. Ses albums ont tous été classés dans les hit-parades internationaux et ses prestations scéniques restent des modèles du genre. Wolfgang Wössner a rassemblé les plus grands succès du chanteur canadien pour réaliser ce superbe arrangement pour Orchestre d’Harmonie Bryan Adams - The Best of Me rassemble les quatre titres suivants : Everything I do, I Do It for You (Robin des Bois), The Best of Me, Please Forgive Me et Summer of ’69.Nato nel 1959 in Canada, Bryan Adams è uno dei cantanti rock più famosi dei nostri tempi. La sua voce rauca, accompagnata al talento di interpretare heavy rock accanto ad espressive ballate, ha contribuito alla sua fama. Wolfgang Wössner, grande fan di Bryan Adams, ha selezionato alcune delle più belle canzoni dell’artista canadese arrangiandole per banda. Questo medley include i titoli seguenti: Everything I do, I Do it for You dal film Robin Hood, The Best of Me, Please Forgive Me e Summer of ’69.
SKU: BT.CMP-0717-03-140
This fascinating work seeks to describe the energy of the early settlers and the natural beauty of the landscape of the Kawartha Lake region in Ontario, Canada.
SKU: BT.AMP-243-140
Beethoven’s Greeting is geschreven ter gelegenheid van het 400-jarig bestaan van de Canadese stad Quebec. Philip Sparke schreef deze fantasie, gebaseerd op Beethovens canon Freu’ dich des Lebens, als muzikale groet aandeze stad. Beethoven’s Greeting heeft een langzame inleiding die is gebaseerd op de canon, dan volgt een levendig Vivo, dat later dient als discant van de canon - die terugkomt in de zang van het optionele koor (SATB).De melodie is ook verweven in de orkestratie.Beethoven’s Greeting wurde zur 400-Jahrfeier der kanadischen Stadt Quebec geschrieben. Philip Sparke wählte für seinen musikalischen Gruß den Kanon Freu dich des Lebens, den Beethoven auf Wunsch eines nach Quebec ausgewanderten befreundeten Musikers zum Andenken geschrieben hatte. Der Kanon in Sparkes Fantasie kann optional von einem SATB-Chor gesungen werden, die Melodie ist auch in der Orchestrierung enthalten. L’année 2008 marque le 400e anniversaire de la fondation de la ville de Québec (1608-2008) au Canada. Pour célébrer cet événement, la Musique des Voltigeurs de Québec, une unité d’infanterie de la force terrestre des Forces canadiennes, a fait appel au compositeur Philip Sparke pour l’écriture de deux œuvres de concert (disponibles sur un compact disc édité spécialement pour cette occasion). Philip Sparke a composé Sounds of the Saint Lawrence (Échos du Saint-Laurent), une suite de chants traditionnels québécois, et cette fantaisie libre sur le canon Freu’ dich des Lebens de Ludwig van Beethoven. L’histoire de ce canon est absolument fascinante. En1822, Théodore Frédéric Molt, un professeur, auteur, pianiste et organiste allemand - ancien soldat dans l'armée napoléonienne ayant combattu Waterloo - arrive Québec. En 1825, il retourne en Europe afin de parfaire sa formation. Au cours de son séjour, il rend visite Beethoven. Quelques jours plus tard, il fait parvenir une lettre au compositeur sourd en incluant une feuille blanche sur laquelle il lui demande d'écrire « du fond de son grand cœur » un souvenir « qui restera pour moi, une distance qu'il me faudra presque 3000 heures pour parcourir, un document éternellement précieux. »Beethoven accepte et, le 16 décembre 1825 (jour de ses cinquante-cinq ans), il présente Théodore Molt le canon Freu’ dich des Lebens Le manuscrit est actuellement conservé dans une collection canadienne.Beethoven’s Greeting (“La signature de Beethovenâ€) débute avec une introduction lente basée sur le canon. S’ensuit un Vivo qui sera repris ultérieurement sous la forme d’un déchant la mélodie du canon. Le thème du canon est chanté par le chœur quatre voix (SATB) optionnel (AMP 243-050), mais la mélodie est également présente dans l’orchestration.
SKU: CL.026-4661-00
Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: CL.026-4661-01
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: FG.55011-510-1
ISBN 9790550115101.
Matthew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes.
SKU: PR.114417250
ISBN 9781491110928. UPC: 680160631469. 9x12 inches. Key: F.
Concertino in F for English Horn and OrchestraPreviously known only through a spurious edition in G Major, the authentic Concertino in F was recently discovered in Italy by Pedro Diaz, English Hornist of the Metropolitan Opera Orchestra. Diaz prepared this ground-breaking authentic edition through comparison of the multiple historical sources and an intimate knowledge of Donizetti's works. The new edition in F Major is embellished with footnotes regarding sources and ornamentation. The piano reduction and orchestral score and parts (available on rental) were prepared by composer/oboist Mark Biggam in tandem with Diaz's work, and the publication includes extensive historical notes by scholar Michael Finkelman. PEDRO DIAZ joined The Metropolitan Opera Orchestra in 2005 and has performed as solo English Hornist in hundreds of productions. As a sought after teacher, Mr. DÃaz has lectured extensively at top music conservatories including The Juilliard School, The Manhattan School of Music, The Eastman School of Music,The Hartt Music School, and Duquesne University. His international appearances include masterclasses in Panama, Italy, Mexico, Canada, Puerto Rico, Leipzig, Berlin, and Italy.A native of Puerto Rico, he received his early musical training in the “Escuela Libre de Musica,†an esteemed public school for the performing arts. He has performed as a guest artist with the Chicago Symphony, New York Philharmonic, and many other leading ensembles. His playing has been hailed by critics as evocative, eloquent and expressive and is considered one of the pre-eminent players of his generation. Mr. DÃaz has performed Wagner’s Tristan und Isolde 24 times under the batons of James Levine, Daniel Barenboim, and Sir Simon Rattle.Pedro DÃaz’s recording of the Donizetti Concertino in F and other concerti is available from Fox Products and online sources, performed with members of the Metropolitan Opera Orchestra. MARK BIGGAM’s compositions have been recognized in various venues throughout the United States, Central America, Asia, and Europe. He has received awards from ASCAP and the Cleveland Foundation. An oboist himself, many of Biggam’s compositions have been performed by notable oboists and English Horn players including John Mack, Joseph Robinson, Pedro DÃaz, Carolyn Hove, and Dwight Parry. Premieres of his works have been featured at events including the International Double Reed Society and John Mack Legacy Camp.Biggam’s choral works have gained recognition, awards, and commissions from organizations including the Moravian Music Foundation, Ohio BoyChoir, and Triad Pride Men’s Chorus. He also has published arrangements and piano reductions of J.S. Bach’s music for Bärenreiter-Verlag. His collaborations with Pedro DÃaz include the Donizetti Concertino in F as well as works of the lesser-known composers Pilotti and Mares, recorded by Mr. Diaz and members of the Metropolitan Opera Orchestra. Biggam has alsoprepared arrangements and settings of works for symphonic band, which have been performed by the Piedmont Wind Symphony.
SKU: BT.1536-08-010-MS
SKU: FG.55011-871-3
Lauri Mäntysaari explores the theme nature in Chats before Sunrise (2007, rev. 2022). The atmosphere created in this composition is one of early dawn after a long night spent with good friends (and wine, perhaps), a moment where an unseen element lighter than the air seems to hold the still bubbling conversation in its arms and let us feel relieved. Not only does the word chat mean a light conversation, but also a family of birds which is particularly known for their habit of making clicking sounds. These chats also find their place in the composition.Duration: c. 6'Lauri Mäntysaari (b. 1982 Helsinki) is known for his wide variety of composing for different media. His output consists of orchestral works, music for instrumental ensemble, solo works, songs and choir music. His works have been performed widely in Finland, but also in eg. Sweden, Denmark, Estonia, Austria and Canada. Mäntysaari's works have recently gained success in international competitions in Italy and The Netherlands.
SKU: BT.1536-08-020-MS
SKU: HP.HRC
The Handbell Review Club is a subscription service sent directly to you two times a year (May & November). Each packet includes single copies of all new Hope handbell publications plus a CD with full-length recordings of each selection. Active members of the Handbell Review Club receive an automatic 20% discount on all items ordered on the Hope website (except hymnals and accessories). No coupons needed!Please note: U.S. and Canadian addresses only. Review Club annual subscription in Canada is $75.00 due to additional shipping costs. Price will be adjusted if applicable.If you already have a Review Club subscription, cllick here to renew: My Subscriptions .
