Par SCHUBERT FRANZ. SCHEPPER (Arr. ) / Musique classique / Répertoire / Exemplaire Complet

Par SCHUBERT FRANZ. Robert MARTIN (Arr. ) / Niveau : Facile / Musique sacrée et Noëls / Répertoire / Parties Supplémentaires

Par SCHUBERT FRANZ. SCHEPPER (Arr. ) / Niveau : Avancé / Musique classique / Répertoire / Parties Supplémentaires

Franz Schubert (1797-1828) great Austrian composer was a supreme melodist and master of lieder. This transcription is based on his Sanctus (Holy Holy Holy) from his German Mass in F. (ca. 1815) for four-part choir and lends itself well to the expressive qualities of the modern brass quintet.

Par SCHUBERT FRANZ. Michel SORLIN (Arr. ) - Durée: 3'50 / Niveau : Facile / Musique classique / Répertoire / Conducteur

Par SCHUBERT FRANZ. Fernand ANDRIEU (Arr. ) / Niveau : Facile / Musique classique / Répertoire / Conducteur

Par SCHUBERT FRANZ. Michel MOISSERON (Arr. ) / Niveau : Assez Facile / Musique classique / Répertoire / Exemplaire Complet

Par SCHUBERT FRANZ. Michel SORLIN (Arr. ) - Durée: 3'50 / Niveau : Facile / Musique classique / Répertoire / Exemplaire Complet

Par SCHUBERT FRANZ. FERNAND (Arr. ) / Niveau : Avancé / Musique classique / Répertoire / Conducteur

The Trout-We proudly bring you another one of Robert van Berigen’s spectacular arrangements of popular classical works based on Franz Schubert’s famous song The Trout Op. 32 composed in 1817. Schubert liked the melody so much he used it again in his Trout Quintet in 1819. This arrangement will both charm and delight your audience.

Death and the Maiden [from String Quartet No. 14]. Par SCHUBERT FRANZ. / Niveau : 1.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Death and the Maiden [from String Quartet No. 14]. Par SCHUBERT FRANZ. / Niveau : 1.5 / Pièce de concert / Répertoire / Concert Band

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie