A Colour Symphony: Symphony No 3

SKU: BT.AMP-403-010

English-German-French-Dutch.

Philip Sparke’s third symphony, A Colour Symphony, was commissioned by “sinfonischen blasorchester wehdel” conducted by Thomas Ratzek. In the five movements (white, yellow, blue, red and green) the composer creates links betweenthe instrumentation and harmonic elements and the actual colour of the spectrum the movement stands for. In order to create the greatest richness possible, Philip Sparke used a very large instrumentation including low woodwinds, harp, piano andcelli. A Colour Symphony is an impressive and iconic addition to the standard repertoire for large symphonic bands.

De derde symfonie van Philip Sparke, A Colour Symphony, is geschreven in opdracht van het ‘sinfonischen blasorchester wehdel’, dat onder leiding staat van dirigent Thomas Ratzek. In de vijf delen (white, yellow, blue, red andgreen) legt de componist verbanden tussen de instrumentatie en harmonische elementen en de kleur waar het betreffende deel voor staat. Om een grote klankrijkdom te creëren heeft Sparke een omvangrijk palet aan instrumentatie gebruikt,waaronder het lage houtregister, een harp, piano en cello’s. A Colour Symphony is een indrukwekkende en iconische aanvulling op het standaardrepertoire van het grote symfonische blaasorkest.

Philip Sparkes dritte Sinfonie, A Colour Symphony, wurde vom Sinfonischen Blasorchester Wehdel, das von Thomas Ratzek geleitet wird, in Auftrag gegeben. In den fünf Sätzen (white, yellow, blue, red and green) stellt der Komponisteine Verbindung zwischen der Instrumentierung und den harmonischen Elementen sowie der jeweiligen Farbe, für die der Satz steht, her. Um eine möglichst große Bandbreite zu erzeugen, verwendete Philip Sparke eine sehr umfangreiche Instrumentierung mittiefen Holzbläsern, Harfe, Klavier und Celli. A Colour Symphony ist eine eindrucksvolle und hervorragende Ergänzung zum Standardrepertoire für sinfonisches Blasorchester.

La troisième symphonie de Philip Sparke, A Colour Symphony, fut commandée par le Sinfonisches Blasorchester Wehdel, dont le chef d’orchestre est Thomas Ratzek. Dans chacun des cinq mouvements (white, yellow, blue, red and green),le compositeur établit un rapport entre l’instrumentation et les éléments harmoniques, et la couleur réelle attribuée au mouvement spécifique. Pour créer autant de richesse que possible, Philip Sparke utilise une instrumentation variée qui comprendles bois de registre grave, harpe, piano et violoncelles. A Colour Symphony est un ajout impressif et iconique au répertoire de norme des grands orchestres d’harmonie.

La terza sinfonia di Philip Sparke, è stata commissionata dalla Sinfonischen Blasorchester Wehdel di Thomas Ratzek. Ciascuno dei quattro movimenti corrisponde a un colore (bianco, giallo, blu e rosso), in un inarrestabile sinestetico rincorrersi di suoni e visioni. L’orchestrazione è di quelle imponenti: legni, arpa, pianoforte e violoncello svolgono una parte fondamentale nell’opera di conferimento di ulteriore rigoglio arrangiativo alla sinfonia sparkiana.

SKU: HL.49018082

ISBN 9790001168809. UPC: 884088535094. 9.0x12.0x0.2 inches.

Each organ symphony by Enjott Schneider has its own colour and its own theme. Organ Symphony No. 7 'Von Ewigkeit zu Ewigkeit' is dominated by the theme of 'time': from the flowing rumbling of time in ancient beginnings ('In principio' - 1st movement) and periodic to the intellectually incomprehensible revolving ('Zeit der Sterne' - 2nd movement). After the third movement ('Zeit des Menschen'), a valse triste, infused by an almost humorous hectic atmosphere, the symphony ends with a kind of 'Amen!' in the fourth movement. Schneider sums it up: 'It is good as it is, we do not understand the course of time anyway.' With regard to style, his composition is based on elements of minimal music which he combines with the tradition of the European organ composition; it is at the same time a testimony to the composer's flexibility and versatility.

SKU: BT.DHP-1114234-010

9x12 inches. English-German-French-Dutch.

Symphonie Fantastique, composed by Hector Berlioz, is a symphony in five movements based upon Berlioz's own experiences of disappointment in love. Tohru Takahashi's arrangement fully exploits the capabilities of the concert band whilst staying true to the tonal colour and textures of the original. Movements include: Reveries - Passions, Un Bal, Scène aux champs, Marche au supplice and Songe d'une nuit de sabbat.

Hector Berlioz was nogal teleurgesteld in de liefde. Met de nog steeds modern klinkende Symphonie Fantastique gaf hij hieraan uiting. Tohru Takahashi verwerkte de originele partituur voor deze transcriptie. Hij wil hiermee de mogelijkhedenvan een modern blaasorkest optimaal benutten, maar verliest daarbij de originele klankkleuren nooit uit het oog. De optionele solopartij voor de cornet verschijnt in het tweede deel. Oorspronkelijk werd deze voor de beroemdekornettist Jean-Baptiste Arban geschreven.Mooi en meeslepend!Symphonie Fantastique bestaat uit de vijf delen Rêveries-Passions (Mijmeringen), Un bal (Een bal), Scène aux champs (Scène op de velden), Marche au supplice (Gangnaar het schavot) en Songe d'une nuit de sabbat (Droom van een heksensabbat).

Berlioz' einzigartige instrumentale und musikalische Herangehensweise klingt auch im 21. Jahrhundert noch neu. Für diese neue Transkription für Blasorchester schöpfte Tohru Takahashi unter bestmöglicher Ausnutzung der originalen Klangfarben die Möglichkeiten eines modernen Blasorchesters voll aus. Die Sinfonie besteht aus den fünf Sätzen Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice und Songe d'une nuit de sabbat.

L'originalité instrumentale et musicale de Berlioz apparaît encore au XXIe siècle avec la même fraîcheur, que celle qui présida lors de la création de l'oeuvre. Pour cette nouvelle transcription pour orchestre vent, Tohru Takahashi a revisité la partition de Berlioz en respectant l'orchestration originale, afin d'exploiter pleinement le vaste potentiel d'un orchestre vent. La Symphony Fantastique se compose de cinq ensembles Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice et Songe d'une nuit de Sabbat.

L'originalit strumentale e musicale di Berlioz è attuale anche nel XXI secolo. Per questa nuova trascrizione per banda, Tohru Takahashi ha rivisitato lo spartito di Berlioz rispettando l'orchestrazione originale per sfruttare al meglio il vasto potenziale delle formazioni di fiati moderni. La Symphonie Fantastique si compone di cinque movimenti: Reveries-Passions, Un Bal, Scène aux champs, Marche au supplice e Songe d'une nuit de Sabbat.

SKU: HL.14032192

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

SKU: HL.51489052

ISBN 9790201890524. UPC: 888680950682. 7.0x9.0x0.238 inches. Preface: Ullrich Schneidler.

Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. This E-flat major Symphony, composed in 1786, is notable for its colourful use of the woodwind, which are also allowed to come to the fore in solo passages. This study edition reproduces the musical text of the Haydn Complete Edition, which isa guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.

SKU: HL.49045437

ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.

On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.

SKU: BT.DHP-1033502-040

9x12 inches.

Sinfonietta consists of four movements that have no thematic or musical relationship with each other. Each movement has its own character and atmosphere, which displays a variety of qualities and possibilities of the modern concert band. The four movements are entitled The Landing; The Sword Dance; Nightfall by the River and Towards the Future. Together they build into a mini- symphony full of colour and contrasts.

Sinfonietta bestaat uit vier delen met elk een eigen karakter, de verschillende klankkleuren en mogelijkheden van het moderne harmonieorkest komen in dit werk uitstekend tot hun recht.

Sinfonietta besteht aus vier Sätzen, die in keinerlei thematischem oder musikalischem Zusammenhang zueinander stehen. Jeder Satz hat seinen eigenen Charakter und eine eigene Atmosphäre, in welcher sich die Vielfalt an musikalischen Farben und Möglichkeiten des modernen Blasorchesters entfalten kann. Die Sätze mit den klangvollen Titeln bilden eine Mini-Symphonie voller Klangfarben und Kontraste!

The Landing (“Les b tisseurs”) • Sword Dance (“La danse du sabre”) • Nightfall by the River (“La rivière la tombée de la nuit”) • Towards the Future (“Regards vers le futur”) : La ville d'Osaka vit de l’eau et vit avec l’eau. C'est pourquoi on la surnomme « la capitale de l’eau » (suito, en japonais) depuis les temps anciens. Le sous-titre s’imposait comme une évidence.Sinfonietta est une œuvre mystique et mystérieuse, sauvage et diabolique, raffinée et colorée, lyrique et virtuose, conventionnelle et originale. Cette petite symphonie se compose de quatre mouvements contrastés qui révèlent les larges possibilités del’Orchestred’Harmonie moderne.