Arr. Jan De Haan. Par CHARPENTIER / LUDWIG VAN BEETHOVEN. Pour composer cette oeuvre festive, Jan de Haan s’est inspiré du Te Deum de Marc-Antoine Charpentier (1634-1704) et de l' Ode à la Joie extraite de la Symphonie n° 9 de Beethoven (1770-1827). Les différents pupitres de l’orchestre conversent dans des passages brillants. Le style est direct et vigoureux, les passages mélodiques sont délicats et élégants. Une oeuvre pétillante à quatre voix pour ensemble à instrumentation variable. / Niveau : 1.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie ou Fanfare

Brass Pack-First movement of Beethoven's 5th carefully and imaginatively arranged for Brass Instruments. Parts are also availaible for Woodwind Instruments (SP540) and String Instruments (SP542). All three versions can be played together or individually. Grade: 3 - 5

Par BEETHOVEN LUDWIG VAN / TAYLOR ADRIAN (Arr.). / Date parution : 2022-11-29/ Répertoire / Concert Band

From 'The Ruins of Athens' Opus 113. Par BEETHOVEN LUDWIG VAN. From 'The Ruins Of Athens' Op. 113 / Niveau : 3 / Marche de concert / Répertoire / Concert Band

from Piano Sonata No. 8 in c minor Op. 13-La célèbre mélodie de l?Adagio cantabile deuxième mouvement de la Grande sonate pathétique de Beethoven est une des plus belles pages du répertoire pour piano solo. Elle fut arrangée à de nombreuses reprises pour les formations les plus diverses. Cette nouvelle version signée Georges Moreau conserve l?authenticité de l?œuvre originale. La ligne mélodique plaintive est l?expression du pathos. L?accompagnement orchestral est sobre.

Op 25 maart 1957 vond de ondertekening van het verdrag van Rome plaats. Dit betekende het begin van de Europese Unie (EU). De Europese 'familie' is in 50 jaar tijd gegroeid van 6 tot 27 landen ieder met hun eigen cultuur taal en tradities. Vrijheid democratie gelijkheid de rechtsstaat en respect voor de mensenrechten zijn de gemeenschappelijke waarden die worden nagestreefd. Europese Hymne: In 1972 koos de Raad van Europa het thema van 'Ode aan de vreugde' van Ludwig van Beethoven (uit de Negende Symphonie) als het Europese Volkslied. De tekst van het lied 'Ode aan de vreugde' (An die Freude. Ode to Joy) is van de hand van Friedrich Schiller. Net alsSchiller vond Beethoven dat alle mensen gelijk waren (broeders). Ter gelegenheid van deze bijzondere verjaardag componeerde Dagmar Kildevann de vrolijke mars J'eu'ful. De titel is een woordspeling op de tekst van het Europese volkslied. Kildevann gebruikt als inleiding op het volkslied het bekende motief uit Beethoven's Vijfde Symphonie.

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. 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 : 2023-07-31/ Répertoire / Concert Band/Harmonie

Classics on Parade (?Les classiques font la parade?) de Michael Friedman est une superbe compilation de dix-neuf célèbres thèmes classiques extraits du répertoire de grands compositeurs tels que Beethoven Mozart Haydn von Suppé Offenbach Strauss père et fils Rossini et bien d?autres encore. Présentées avec habileté de façon individuelle ou au contraire imbriquées les unes dans les autres les dix-neuf pièces rassemblées dans cet arrangement constituent un ensemble original qui viendra enrichir le répertoire de la musique classique légère.

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. 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 : 2023-07-31/ Répertoire / Concert Band/Harmonie

Le terme « pastorale » désigne une œuvre musicale dont les thèmes s'inspirent de la vie champêtre généralement dépeinte d?une façon idyllique et bucolique. La Symphonie Pastorale sixième des symphonies de Ludwig van Beethoven en est un bel exemple. Bert Appermont a repris ce concept dans son Hymnus Pastorale tout en lui conférant une touche plus moderne. Ce choral ample et lumineux est adapté à toutes les formations à vent.

Au fil de lhistoire plusieurs écrivains et compositeurs ont repris le récit tragique dEgmont pour en donner une interprétation personnelle comme par exemple la très célèbre « Ouverture dEgmont » de Beethoven.Lorsque la société philharmonique Lamoraal van Egmont ma chargé de composer une oeuvre autour de ce personnage je fus très intéressé par lidée de découvrir la profondeur et la puissance de ce récit intemporel et de lexprimer musicalement à ma propre façon.Quatre scènes du récit constituent dimportants piliers dramatiques : le mariage dEgmont (partie 1) les difficiles relations dEgmont avec Philippe II (partie 2) sa décapitation à Bruxelles (partie 3) et la révoltedes Pays-Bas contre la domination espagnole qui sen est suivie (partie 4).Loeuvre souvre par une mélodie entraînante qui illustre le personnage dEgmont et qui sera répétée sous différentes formes. Vient ensuite une danse de la renaissance pleine de virtuosité évoquant une f?te de mariage au milieu du XVIe siècle. Ce nest pas tant la solennité du mariage du Comte Lamoral dEgmont et de Sabine de Bavière qui se trouve ainsi exprimée mais plutôt lambiance festive et la musique qui était probablement jouée en pareille occasion. A la fin de cette partie la musique a des résonances espagnoles ; à lépoque les Pays-Bas étaient dailleurs sous tutelle espagnole et Egmont était un fidèle serviteur de la couronne dEspagne pour laquelle il avait remporté plusieurs batailles.Dans la partie 2 sont présentées à tour de rôle les personnages de Philippe II - roi dEspagne - et dEgmont. Un thème empreint de machiavélisme et dobscurité soutenu par un accompagnement lancinant à la guitare espagnole et aux castagnettes caractérise le personnage tyrannique et avide de pouvoir de Philippe qui conjure Egmont (et dautres) de le suivre dans les atrocités quil commet. Le thème dEgmont résonne ensuite dune sobriété pure et dune mélancolie enfouie. Bien quEgmont soit célèbre pour ses qualités magistrales de commandant ce sont davantage sa vulnérabilité dhomme et son déchirement

Le terme « pastorale » désigne une œuvre musicale dont les thèmes s'inspirent de la vie champêtre généralement dépeinte d?une façon idyllique et bucolique. La Symphonie Pastorale sixième des symphonies de Ludwig van Beethoven en est un bel exemple. Bert Appermont a repris ce concept dans son Hymnus Pastorale tout en lui conférant une touche plus moderne. Ce choral ample et lumineux est adapté à toutes les formations à vent.

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