Emil Nikolaus V. Reznicek was born on May 4 1860. Though he was originally destined for ajudicial career his nature (that of a true musician)soon pointed him in the direction of music. As anorchestral conductor and a highly regarded musicteacher he made his mark in a number of cities including Mannheim and Berlin. As a composer hesprang to fame with his opera Donna Diana(1894) a lasting success which placed him in theforefront of German composers. The overture toDonna Diana is unique in its freshness and sunnycheerfulness. Wil van der Beek who has alreadywritten many arrangements of classical pieces forwind band has maintained the spirit of theoriginal composition.

Par REZNICEK EMIL NIKOLAUS VON. / Répertoire / 2 Accordéons, Accordéon Orchestre, Batterie et Tim

Par REZNICEK EMIL NIKOLAUS VON. / Répertoire / 2 Accordéons, Accordéon Orchestre, Batterie et Tim

Arr. Wil Van Der Beek. Par VON REZNICE EMIL NIKOLAUS. Emil Nikolaus V. Reznicek was born on May 4, 1860. Though he was originally destined for ajudicial career, his nature (that of a true musician)soon pointed him in the direction of music. As anorchestral conductor and a highly regarded musicteacher he made his mark in a number of cities, including Mannheim and Berlin. As a composer hesprang to fame with his opera Donna Diana(1894), a lasting success which placed him in theforefront of German composers. The overture toDonna Diana is unique in its freshness and sunnycheerfulness. Wil van der Beek, who has alreadywritten many arrangements of classical pieces forwind band, has maintained the spirit of theoriginal composition. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière