Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Metalla was commissioned by the 'Kreisverband Altenkirchen' of Germany and dedicated to Ottomar Jung. The composer himself conducted the premiere of the piece which was performed by the 'Jugendorchester Kreisverband Altenkirchen' on 25 March 1999.The region of Altenkirchen is known for its iron mines which find musical expression in the dark mood of the introduction (andante misterioso). This effect is accomplished with overlapping seventh intervals orchestral crescendos a succession of broad chords and the presentation of most themes in the middle register of the band.The dynamic section (allegro energico) that follows the introduction is characterized by concise figures inthe brass and a second motif a kind of rippling motion depicting the Sieg River an important element in the landscape of the Altenkirchen region.The work closes with a final theme that returns a number of times albeit in different guises. After a brief repeat of the seventh intervals from the beginning a last radiant chord signals the end of the piece.

Cette composition signée Filip Ceunen repose sur la séquence des quatre notes suivantes : Fa-Mi-Sib-La (F-E-Bes-A en notation allemande). Jouées conjointement ces quatre notes installent un climat mystérieux s?enfonçant dans l?étrange. Venant des cuivres graves la ligne thématique est reprise par les bois puis s?épanouit dans un grand tutti orchestral suivi d?un Allegro vif et lumineux. Le passage final est nimbé de l?atmosphère mystérieuse de l?introduction tandis que l'euphonium le hautbois et la flûte traversière agrémentent la toile d?un solo délicat.

Cette composition signée Filip Ceunen repose sur la séquence des quatre notes suivantes : Fa-Mi-Sib-La (F-E-Bes-A en notation allemande). Jouées conjointement ces quatre notes installent un climat mystérieux s?enfonçant dans l?étrange. Venant des cuivres graves la ligne thématique est reprise par les bois puis s?épanouit dans un grand tutti orchestral suivi d?un Allegro vif et lumineux. Le passage final est nimbé de l?atmosphère mystérieuse de l?introduction tandis que l'euphonium le hautbois et la flûte traversière agrémentent la toile d?un solo délicat.

Par SCHUMANN ROBERT. Concert Piece For Pianoforte And Orchestra/ Répertoire / Piano et Orchestre

Par SCHUMANN ROBERT. Concert Piece For Pianoforte And Orchestra/ Répertoire / Piano et Orchestre

Major Yvon Ducene wanted a new lush and colourful composition for his Guides military band with André Waignein as its composer. Early in 1979 the composer began his assignement and in October of the same year the finished full score was on the music stands of this prestigious military band of the Belgian Army.The introduction (Grave) mirrors an atmosphere full of serenity in which the theme played by the oboes and the English horn is predominant and immediately holds the listener spell-bound. It is taken up again as central element of the slow movement.The Allegro breaks away from the quiet passion of the introduction. Here the band can really show its capabilities to thefull. Based on a very precise rythm an idiom of sudden desperation and adversity develops which fused with a crushing agression culminates in a kind of eruption soom calmed down by a Lento : peace and quiet has returned thanks to a melody by the horns and soon taken over by the clarinets. In the meantime the saxophone - an instrument full of human emotion - express the main spatial dimension in contemporary psyche. Following a harmonic transition the brass-players take up the theme again in forte whilst the basses and the woodwinds interwine in technical arabesques.The movings of the mind and the heart get an audible and almost touchable shape in the ensuing Allegro a movement characterized by a rhythmic dialogue in which the whole orchestra participates and where the exposition contains a wealth of sound and technical contrasts. The Lento finally uses the central theme of the slow movement again with some occasional references to the two allegros. The last page is of unprecedented grandeur. All the instruments display their most beautiful sound which were named by Jacques Ferschotte when speaking about Honneger 'harmonies d'intensités' harmonies of the unmeasurable.

Concerto Dynamico is a sparkling work opening with a majestic introduction in which the whole band presents the main theme. The volume together with the broad melodic lines create a robust opening that leads to a dazzling allegro. Syncopated rhythms produce a cheerful note supported by the percussion. A charming andante follows in which various instrument groups play the main theme. In the succeeding moderato marziale the same theme can be heard as in the last allegro giocoso but with another rhythm. Concerto Dynamico ends with a shortened repeat of the slow middle movement.

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Solo for Trumpet and Concert Band-From the dynamic driving introduction to the expressively lyric Andante cantabile Concertpiece for Trumpet was created to showcase both the technical and lyrical qualities of the trumpet. Whether cascading down difficult runs negotiating its way through exciting double-tonguing passages or soaring above the ensemble during the most expressive moments the trumpet soloist is challenged to perform at an extremely high standard of excellence.After the expressive middle section the recapitulation of the opening Allegro once again re-establishes the brilliant energetic qualities of the trumpet while the following Coda focuses on the interplay between the soloist and theensemble. A dramatic flourish of ascending runs brings this work to a fitting conclusion.

Heindonk (polder dans la bruyère) est un petit village flamand situé au confluent de la Dille et de la Nete qui compte à peine 600 habitants.Le titre de loeuvre est tiré du latin « Vallis Pacis » (vallée de la paix) qui fut également le nom dun monastère fondé au XVe siècle par les chanoinesses de Saint Augustin.Dans cette oeuvre qui fut composée à la demande de la fanfare de Heindonk Iever maakt Vooruitgang la dualité occupe une place centrale.1. Le nom de Heindonk se compose de Hei » (bruyère) et de « Donk » (marais).2. Le village est situé au confluent de deux rivières.3. Il fut autrefois ravagé par deux catastrophes naturelles.La première catastrophe est survenue en1549. A lépoque Heindonk fut frappé par de violentes temp?tes et de graves inondations.Le deuxième fléau sest abattu sur Heindonk quelques années plus tard. Les inondations qui touchèrent le monastère furent telles que pendant des mois les chanoinesses furent prisonnières et ne pouvaient plus quitter le monastère que par bateau. Qui plus est toutes les récoltes tout le foin et toute la paille furent détruits après quoi les problèmes financiers se sont amoncelés et les religieuses furent contraintes de quitter le monastère en 1552.Loeuvre est donc basée sur deux thèmes principaux qui tiennent lieu de fil rouge tout au long de celle-ci.Ces thèmes ont été délibérément composés en mineur pour souligner les événements dramatiques.Loeuvre commence par lannonce du premier thème dramatique. Une introduction lente une mélodie jouée par des euphoniums tient lieu de prologue et est reprise plus tard par lensemble de lorchestre.Le premier thème principal sintègre dans le tout (mesure 39)Le deuxième thème dramatique est présenté à partir de la mesure 68.Un allegro rythmique et empreint dun sentiment de peur décrit les événements résultant de la temp?te ; il est suivi par un intermède optimiste en majeur qui symbolise lespoir.Après quelques variantes en majeur sur les deux thèmes principaux le thème du prologue sexprime à nouveau dans un final

for Bb Clarinet and Band-Ebony Fantasy est une courte pièce pour clarinette si bémol solo et orchestre d?harmonie une oeuvre idéale pour mettre de jeunes clarinettistes solistes sous les feux de la rampe ! Une brève introduction expose le thème en filigrane. Lui succèdent un lyrique Andante espressivo puis un puissant Allegro. L?orchestre au complet participe à une courte cadenza avant de revenir à l?apaisant motif de l?Andante qui mène la pièce lentement et progressivement à son final.