Hymn for Band

Par POLEDOURIS BASIL. / Niveau : Intermédiaire / Répertoire / Choeur (SATB) et Brass Band

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

Fantasia on the Welsh Hymn Tune 'Aberystwyth'. Par DE HAAN JACOB. Cette œuvre est fondée sur l’hymne « Aberystwyth », qui emprunte le nom d’une ville côtière à l’ouest du Pays de Galles. C’est l’hymne préféré de Jacob de Haan parmi les 120 Hymns for Brass Band. L’œuvre se compose de trois mouvements ininterrompus où le thème de l’hymne se présente sous diverses formes attrayantes pour former une pièce variée qui enchantera les musiciens autant que leurs auditeurs. / Date parution : 2021-12-09/ Répertoire / Fanfare Band

John Bacchus Dykes (1823-1876) a composé la mélodie Nicaea pour accompagner le magnifique texte de louange Holy holy holy! écrit par Reginald Heber. L?hymne connaît un succès universel dès sa publication dans le psautier Hymns Ancient and Modern en 1861. Philip Sparke a repris cette célèbre mélodie pour composer Variants on an English Hymn Tune qui se présente sous la forme traditionnelle d?un air varié dont la structure comporte une introduction un thème et une suite de trois variations sur le thème.

Meditation on 'O come O come Immanuel'-The Advent hymn we all know today as O Come O Come Immanuel was arranged in its modern form by Thomas Helmore and published in Hymnal Noted in 1856. Both the words and melody however predate this version by centuries.The tune Veni Immanuel is taken from a 15th century processional of French Franciscan nuns part of the setting for the funeral hymn Libera Me. This arrangement aims to expand on the power and mystery of the original tune and will be most effective if the solo trumpet at the start and end of the piece can be placed away from the band maybe at the back of the auditorium.

Praise to Thee Jesus Christ-Gelobet seist du Jesu Christ (We Praise You Jesus Christ) is an old Christmas hymn dating from the 16th century which can still be found in many hymnbooks today. John Blanken has created a varied and imaginative arrangement on four verses of the hymn. After the introduction derived from the opening notes the hymn is first accompanied by an agile harmonisation. Next we hear the chorale in a four-part setting with a percussion accompaniment. Then follows a short prologue to the third verse and finally its time for fireworks as the arrangement takes a stylistic leap in time with the festive prelude to the fourth and last verse.

Based on the hymn tune Dear Lord and Father of Mankind-Sir Hubert Parry (1848-1918) appartient à cette génération de compositeurs anglais quelque peu oubliés dont font partie Charles Villiers Stanford et Sir Granville Bantock. La notoriété de Sir Edward Elgar a certainement contribué au fait que leurs œuvres soient aujourd?hui très peu jouées ou même oubliées.Sir Hubert Parry est surtout connu pour ses hymnes tels que Jerusalem et Repton toutes deux de magnifiques mélodies. Repton est apparu pour la première fois dans l?oratorio Judith de Charles Hubert Parry puis adapté sous forme d?hymne après la mort du compositeur. Philip Sparke en a réalisé un arrangement dans lequel la partie soliste peut êtreconfiée à un trompettiste un clarinettiste ou un saxophoniste (saxophone alto).

This hymn was commissioned by ?Antwerpen 93?. And this city on the banks of the river Schelde has been nominated ?Cultural Capital of Europe? for 1993. The work-group ?animatie? took the initiative and commissioned a hymn which -as the finale to a grand open-air event on 27th March- was premièred by hundreds of musicians from all over Europe. Philippe Langlet (France) was the conductor at this majestic occasion.Musically speaking the piece can no doubt be labeled easy. Indeed it is meant to represent a hymn playable by all in different instrumental combinations. Consequently a variable instrumentation was chosen and a type of music which by native is easily accessible anduncomplicated.The conductor is free -in the instrumentation- to score this piece according to his own taste. It is perhaps advisable to use the sharp brass in the forte parts in order to make the range in the sound of the orchestra as colouful as possible. The percussion parts are not absolutely essential so that the hymn can also be performed without percussion.

Hymn to Freedom (?Hymne à la Liberté?) du compositeur français Thierry Deleruyelle est une œuvre douce et majestueuse dont la mélodie voluptueuse et lumineuse resplendit comme un hymne à l'humanité. Cette composition est écrite pour Orchestre d'Harmonie/Piano et Chœur (set Chœur vendu séparément). Le texte est disponible en français et en anglais. Hymn to Freedom est une œuvre fraternelle et universelle qui se décline en quatre variantes : une version pour Orchestre d?Harmonie et Chœur mixte à quatre voix (SATB) ? une version pour Orchestre d'Harmonie et Chœur d?enfants/d?adultes à l?unisson (chantant la voix de soprano) ? uneversion pour Orchestre d'Harmonie seul ? une version pour Chœur mixte à quatre voix (SATB) seul avec accompagnement au piano.

Praise to Thee Jesus Christ-Gelobet seist du Jesu Christ (We Praise You Jesus Christ) is an old Christmas hymn dating from the 16th century which can still be found in many hymnbooks today. John Blanken has created a varied and imaginative arrangement on four verses of the hymn. After the introduction derived from the opening notes the hymn is first accompanied by an agile harmonisation. Next we hear the chorale in a four-part setting with a percussion accompaniment. Then follows a short prologue to the third verse and finally its time for fireworks as the arrangement takes a stylistic leap in time with the festive prelude to the fourth and last verse.