SKU: HL.29818005
UPC: 884088221331. 9.0x12.0x0.056 inches.
Here's a superb way to introduce your band to the joys of early instrumental music. Jim Curnow's well-conceived transcription is based on three 16th-century dances by Susato: I. Las Mourisque (Basse Danse), II. Mille regretz (Pavane), and III. La bataille (Pavane).
SKU: HL.44010485
UPC: 884088480950.
SKU: HL.4002888
UPC: 884088403485. 9.0x12.0x0.076 inches.
From his famous Ancient Airs and Dances, 20th-century composer Ottorino Respighi used distinctive melodies from Renaissance composer Jean-Baptiste Besard in this second movement of the third suite. This marvelous adaptation for band retains the authenticity of the original in an attractive yet very playable and unique setting. Dur: 6:00 (Grade 3-1/2).
SKU: HL.4002362
UPC: 073999376876. 9.0x12.0x0.076 inches.
Hymns by Giovanni de Palestrina pre-date those of Bach by over a century and incorporate the great polyphonic tradition of Renaissance writing. The compositions used in this suite are from a collection published in 1589 titled Hymns of the Entire Year, and incorporate antiphonal choral effects that lend themselves particularly well to instrumental settings. John Moss uses richly contrasting tone colors and textures as well as characteristic modal tonalities in this wonderful setting for band. (3:30).
SKU: CF.SPS30F
ISBN 9780825864889. UPC: 798408064884. 9 X 12 inches.
Using the musical styles and forms of the Medieval and Renaissance periods, Mike Forbes has written a striking and powerful three movement suite that is a major addition to serious band literature. The music is entirely original, but the style and approach is similar to such pieces as the Courtly Dances from Gloriana by Benjamin Britten, and makes effective use of the coloristic possibilities of the modern concert band.
SKU: FL.FX070911
This fifth opus makes us jump forward in History: we are now transported by a Renaissance dance.
SKU: PR.114419490
ISBN 9781491131435. UPC: 680160677320. 9 x 12 inches.
The depth and inventiveness of Amanda Harberg’s SUITE FOR WIND QUINTET can only be described as remarkable. Harberg combines the rich tradition of renaissance and baroque dance suites with her own American voice, stirring up dramatic, exciting sounds and stories. Cantus uses the imitative entries of renaissance motets as a jumping off point into a more contemporary world. The playfully virtuosic Furlana refers to the Italian folk dance rhythm in 6, punctuated by lots of unexpected 5’s. Fantasia hints at being a lullaby with an animated and jazz-influenced middle section, and the closing Cabaletta is true to its 19th-century meaning of a rousing closing section following beautiful lyricism. SUITE FOR WIND QUINTET was commissioned and premiered by the Dorian Wind Quintet.Amanda Harberg’s Suite for Wind Quintet was commissioned by the Dorian Wind Quintet in 2017. The piece was the result of a conversation in a bar between Harberg, Dorian’s flutist Gretchen Pusch and Pusch’s husband Richard Bayles, on the occasion of Dorian’s clarinetist Ben Fingland’s 40th birthday party. A year and a half later, the Dorian Wind Quintet gave the world premiere of Harberg’s quintet at Bargemusic, and has incorporated it into their repertoire ever since. Suite for Wind Quintet is in four movements- 1. Cantus, 2. Furlana, 3. Fantasia and 4. Cabaletta. The melodic material heard in the very opening of the piece can be heard recurring and transforming throughout the four movements, until it unites triumphantly in the final coda with the theme of the concluding movement. The piece was inspired by the concept of placing Renaissance and Baroque-inspired dance suites into Harberg’s idiom as a 21st century composer.
SKU: AP.12-0571570127
ISBN 9780571570126. English.
Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge's best known organ piece and including the chimes of Big Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable, and, in the words of wind band legend Timothy Reynish makes a fine alternative to Holst's two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and also by the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music.
SKU: HL.49019380
ISBN 9783795744960. UPC: 841886018808. 9.0x12.0x0.285 inches. German.
This volume contains original compositions from the Renaissance, Baroque and modern eras. It is aimed at recorder players who possess profound basic knowledge. As material to be used in lessons, the pieces train the player's sense of style and the interpretation of music from different epochs. In addition, they deal with all aspects of duet playing, such as confidence in leading one's own part, performance for a balanced sound, intonation and improvement of the player's physical condition. These original pieces are also perfect for concerts, auditions, and competitions.
SKU: BT.DHP-0970945-020
9x12 inches.
This three-part suite is rich in dances and full of contrasting styles and dynamics. The title of the work is a pun on the term ‘concerto grosso’, a piece in parts for a group of solo instruments and orchestra. In Contrasto Grosso small groups in the band perform as soloists, interpreting contrasting renaissance style fragments. Deze dansrijke suite bestaat uit drie delen die worden gekenmerkt door contrasten in stijl, dynamiek en instrumentatie. De titel van de compositie is een woordspeling op het concerto grosso, een meerdelig werk voor een groep solo-instrumentenen orkest. Ook in Contrasto Grosso treden kleinere groepen in het orkest solistisch op met contrasterende, renaissancistische tussenfragmenten.Contrasto Grosso est une suite dansante en trois mouvements de caractères et de styles variés. Le titre de l’œuvre dérive du terme concerto grosso, une forme musicale dont la structure se caractérise par une instrumentation alternant les passages orchestraux en tutti et les passages instrumentaux joués par des groupes solistes. Le changement de couleurs sonores et la diversité des nuances obtenus par cette alternance donnent l’œuvre une expressivité très contrastée. Dans chacun des trois mouvements de cette œuvre, Jacob de Haan confie de petits groupes solistes l’interprétation de fragments écrits dans le style de la musique de laRenaissance et qui offrent ainsi un contraste saisissant avec les passages en tutti basés sur une écriture classique ou traditionnelle.
SKU: BT.DHP-0970945-010
SKU: BT.DHP-0860054-015
These four dances are written in a kind of neo renaissance style. Because of the fact that little technical demands are required from its performing artists, these dances are mainly meant for beginning groups, youth ensembles and also for bands in all kinds of small strengths. Jan Van der Roost originally had pedagogical intentions with this piece. Four Old Dances est une suite de quatre danses originales composées dans le style de la musique de la Renaissance. Simples de structure et accessibles aux Orchestres Juniors, ces quatre danses sont écrites quatre voix avec partie de clavier électronique / synthétiseur ad lib. et partie optionnelle de percussion.
SKU: BT.DHP-1063945-010
English-German-French-Dutch.
This suite is based on the fairy tale The Bronze Pig by Hans Christian Andersen.This is a story about a boy who wants to be a painter and a pig made of bronze. This pig, in Florence town square, is a bronze statue with clear water pouring from its mouth. Legend has it that when an innocent child sits on its back, that the pig can run. In three movements; Flying Dreams in a Starlight Sky, La Via Porta Rossa and Twilight on the Arno River this work is a highly descriptive storytelling piece that will be equally enjoyed by young and old alike. Definitely one not to be snorted at!Deze suite is gebaseerd op Het bronzen varken van Hans Christian Andersen - een sprookje over een bronzen varken en een jongetje dat kunstschilder wil worden. De plaats van handeling is de Italiaanse kunststad Florence. Decompositie bestaat uit drie delen: het sprookjesachtige Flying Dreams in a Starlight Sky, het nostalgische, stijlvolle La Via Porta Rossa en het sfeervolle Twilight on the Arno River. Het bronzen beeld van hetwaterspuwende varken is te vinden op de hoek van La Via Porta Rossa. Het origineel is het marmeren beeld uit de Griekse Oudheid dat wordt tentoongesteld in de Galleria degli Uffizi. De componist bezocht Florence zelf, waarze werd ge nspireerd door beide beelden.Kumiko Tanaka entführt uns in ihrer Suite für Blasorchester in die Märchenwelt von Hans Christian Andersen. Il Cinghiale di Bronzo (Das Bronzeschwein) handelt von einem armen Jungen, der nachts auf einem lebendig gewordenen, Wasser speienden Bronzeschwein durch die Gassen von Florenz reitet. Das Bronzeschwein, das Andersen zu seinem Märchen inspirierte, kann man heute noch besichtigen. Die Inspiration, die Kumiko Tanaka aus seiner Erzählung und der Atmosphäre der wunderschönen Stadt Florenz gewann, ist in ihrer Komposition deutlich zu spüren.Pour composer cette suite en trois tableaux, la compositrice japonaise Kumiko Tanaka s’est inspirée du conte Le Sanglier de Bronze de l’écrivain danois Hans Christian Andersen. Le récit raconte la rencontre entre un petit garçon qui rêve de devenir peintre et un sanglier de bronze qui prend vie lorsqu’un enfant, symbole de l’innocence, monte sur son dos. La scène se passe Florence, foyer des arts de la Renaissance… Per comporre questa suite in tre parti, la compositrice giapponese Kumiko Tanaka si è ispirata alla fiaba Il Cinghiale di Bronzo dello scrittore danese Hans Christian Andersen. La storia, che ha luogo a Firenze, narra dell’incontro tra un ragazzino che sogna di diventare pittore ed un cinghiale di bronzo che prende vita quando il ragazzino, simbolo dell’innocenza, gli monta sul dorso.
SKU: BT.DHP-1063945-040
9x12 inches. English-German-French-Dutch.
This suite is based on the fairy tale The Bronze Pig by Hans Christian Andersen.This is a story about a boy who wants to be a painter and a pig made of bronze. This pig, in Florence town square, is a bronze statue with clear water pouring from its mouth. Legend has it that when an innocent child sits on its back, that the pig can run. In three movements; Flying Dreams in a Starlight Sky, La Via Porta Rossa and Twilight on the Arno River this work is a highly descriptive storytelling piece that will be equally enjoyed by young and old alike. Definitely one not to be snorted at!Kumiko Tanaka entführt uns in ihrer Suite für Blasorchester in die Märchenwelt von Hans Christian Andersen. Il Cinghiale di Bronzo (Das Bronzeschwein) handelt von einem armen Jungen, der nachts auf einem lebendig gewordenen, Wasser speienden Bronzeschwein durch die Gassen von Florenz reitet. Das Bronzeschwein, das Andersen zu seinem Märchen inspirierte, kann man heute noch besichtigen. Die Inspiration, die Kumiko Tanaka aus seiner Erzählung und der Atmosphäre der wunderschönen Stadt Florenz gewann, ist in ihrer Komposition deutlich zu spüren.Pour composer cette suite en trois tableaux, la compositrice japonaise Kumiko Tanaka s’est inspirée du conte Le Sanglier de Bronze de l’écrivain danois Hans Christian Andersen. Le récit raconte la rencontre entre un petit garçon qui rêve de devenir peintre et un sanglier de bronze qui prend vie lorsqu’un enfant, symbole de l’innocence, monte sur son dos. La scène se passe Florence, foyer des arts de la Renaissance… Per comporre questa suite in tre parti, la compositrice giapponese Kumiko Tanaka si è ispirata alla fiaba Il Cinghiale di Bronzo dello scrittore danese Hans Christian Andersen. La storia, che ha luogo a Firenze, narra dell’incontro tra un ragazzino che sogna di diventare pittore ed un cinghiale di bronzo che prende vita quando il ragazzino, simbolo dell’innocenza, gli monta sul dorso.
SKU: BT.DHP-1063945-140
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: HL.4005686
UPC: 888680880477. 9.0x12.0x0.081 inches. Norman Dello Joio/adpt. Robert Longfield.
Composer Norman Dello Joio (1913-2008) received an Emmy award for his 1965 score for the television program The Louvre. His concert band adaptation resulted in a five movement suite combining original material with themes by Renaissance composers such as Susato, Lully, and Cesti. In this arrangement for younger players, Robert Longfield skillfully truncates each movement and lessens the technical demands while carefully maintaining the essence of this masterful wind band repertoire classic. Dur: ca. 6:00.