SKU: FH.C6R10
ISBN 9781554409426.
The Celebration Series, Sixth Edition will inspire students at every level with its comprehensive collection of graded repertoire and etudes. Carefully curated and edited to support teachers and students in artistic and technical development, this 22-book series provides an engaging compilation of music--from beloved classics to newly commissioned works. New to this series are never-before published works from popular Canadian and US composers that will enhance the musical journey. Each book includes high-quality recordings, easily accessible online, to inspire students and teachers. The Repertoire books provide students with a wide selection of outstanding pieces. This series provides a representative collection of repertoire from the Baroque, Classical, Romantic, and Contemporary style periods. With composers from more than 20 countries, these volumes are the ultimate resource for examinations, recitals, festivals, competitions, auditions, and personal enjoyment.
About Celebration Series - Frederick Harris Music
Celebration Series is a comprehensive series of graded repertoire and etudes for piano. This outstanding collection of music from the Baroque era to the present day provides thoroughly engaging teaching and learning materials. Each book includes high-quality recordings, easily accessible online, to inspire students and teachers.
SKU: BT.AMP-322-140
9x12 inches. English-German-French-Dutch.
Named after the leaf displayed on Canada’s flag, Maple Leaf Overture was composed specifically to open a Canadian school’s symphonic band tour of England. A short fanfare during the overture smoothly transitions to a jazzy, syncopated section. The main theme is first played by the horns and saxophones, and then by the entire ensemble. This lively theme then alternates with a slower second theme, building momentum before a brisk coda culminates in a rousing finale!Maple Leaf Overture gaat natuurlijk over het bekendste herkenningsteken van Canada: het blad van de esdoorn, in de vlag. Sparke componeerde dit openingswerk speciaal voor een Canadees schoolorkest uit Calgary, voor hun tour door Groot-Brittannië.Een korte fanfare gaat in deze ouverture naadloos over in een jazzachtig, syncopisch vivo. Eerst nemen de hoorns en saxofoons het hoofdthema voor hun rekening. Daarna speelt het hele orkest dit thema. Spanning ontstaatwanneer het snelle hoofdthema een langzaam tweede deel afwisselt. Daarna keert het snelle hoofdthema weer terug. Een snel coda beëindigt de ouverture. Maple Leaf Overture: feestelijk en sprankelend!Maple Leaf Overture trägt das kanadische Wahrzeichen, das Ahornblatt im Titel. Eine kurze Fanfare geht in dieser Ouvertüre nahtlos in eine jazzig synkopiertes Vivo über. Das Hauptthema dürfen erst die Hörner und Saxophone vorstellen, dann spielt das gesamte Blasorchester. Es entsteht Spannung durch den Wechsel zwischen dem schnellen Hauptthema, einem langsameren zweiten Thema und zurück, bevor eine schnellere Coda das Werk beendet.Maple Leaf Overture porte l’emblème du Canada (la feuille d’érable) jusque dans son titre… Ce morceau, composé par Philip Sparke, a été joué par l’Orchestre Symphonique du Lycée de Calgary dans le cadre de sa tournée en Angleterre. La pièce s’ouvre avec une fanfare maestoso, puis un passage en tempo vivo introduit peu peu des rythmes syncopés de style jazzy. Un motif plus doux nous conduira progressivement vers un apogée où le thème central réapparaît. Le morceau se termine par une brève référence la fanfare d’ouverture, suivie d’une rapide coda.Maple Leaf Overture, il cui titolo riporta all’emblema della bandiera canadese (la foglia di acero), è un brano commissionato a Philip Sparke dall’Orchestra Sinfonica di un liceo di Calgary che l’ha eseguita in occasione di una serie di concerti tenutisi in Inghilterra. Il brano apre con una fanfara maestosa che alterna fraseggi affidati alle varie sezioni della banda. Questa successione omogenea in un tempo vivo introduce progressivamente ritmi sincopati in stile jazz. Un tema principale, all’inizio eseguito dai corni e dai sassofoni, sar in seguito ripreso da tutto l’organico. Segue un motivo più dolce che si intercala progressivamente verso un’apoteosi nella qualeviene riproposto il tema principale. Il brano si conclude con un breve richiamo alla fanfara di apertura, seguita da una rapida coda.
SKU: BT.AMP-322-010
SKU: BT.DHP-1185865-140
English-German-French-Dutch.
This work was commissioned by the civilian wind orchestra Shimizu il compagno, based in Shimizu City, Shizuoka Prefecture, Japan, as a commemorative work for their 10th Anniversary. The world premiere was performed by the ensemble, conducted by Hiromichi Hamada in 2017. Having held discussions with the head of the orchestra, Tomohiro Tsuji, and members of the group, Satoshi Yagisawa settled on a central motif for this commemorative work: fellow, or companion, in the sense of the Italian il compagno, which features in the orchestra’s name. The work also strives to describe the characteristic friendliness of Shimizu city, a place known for itswarmth and kindness which is visible from both Mount Fuji and the sea. The composition is written in Yagisawa’s typical dramatic style with an atmosphere of scintillating light and lyrical warmth, making it an excellent choice for opening a concert. Dit werk werd geschreven ter gelegenheid van het tienjarig bestaan van blaasorkest “Shimizu il compagno” uit de stad Shimizu in de Japanse prefectuur Shizuoka. Het hoofdmotief van de compositie is vriendschap, op basis van de Italiaanse term il compagno de kameraad uit de naam van het orkest. Ook beschrijft Festive Overture de vriendelijkheid en warmte die kenmerkend zijn voor Shimizu, een plaats die zichtbaar is vanaf zowel de berg Fuji als de zee. Het werk is geschreven in Yagisawa’s typerende filmische stijl, waardoor het een uitstekende keuze is voor de opening van een concert.Dieses Werk wurde vom städtischen Blasorchester Shimizu il compagno“ aus Shimizu City in der Präfektur Shizuoka in Japan anlässlich seines 10-jährigen Bestehens in Auftrag gegeben. Der Begriff Gefährte im Sinne des italienischen Wortes il compagno das auch im Namen des Orchesters verwendet wird wurde zum zentralen Motiv. Das Werk möchte außerdem die für die Stadt Shimizu typische Freundlichkeit beschreiben, ein Ort, der für seine Wärme und Liebenswürdigkeit bekannt ist und sowohl vom Berg Fudschijama als auch vom Meer aus zu sehen ist. Die Komposition ist in Yagisawas typisch filmischem Stil geschrieben, wodurch sie sich hervorragend für die Eröffnungeines Konzerts eignet. Cette œuvre a été commandée l’occasion du dixième anniversaire de l’harmonie « Shimizu il compagno » de la ville de Shimizu, préfecture de Shizuoka, au Japon. Son motif principal est le camarade, ou compagnon, dans le sens de l’italien il compagno qui figure dans le nom de l’orchestre. L’œuvre cherche aussi communiquer l’ambiance chaleureuse de la ville de Shimizu, qui est réputée pour son hospitalité et sa bienveillance et que l’on aperçoit aussi bien depuis le mont Fuji que de la côte. Typique du style dramatique de Yagisawa, cette composition est idéale pour ouvrir un concert.
SKU: FJ.ST6244S
English.
From Henry Purcell's semi-opera King Arthur comes this wonderful arrangement in the style of the French Overture. The piece begins with a strong statement filled with regal and stately dotted rhythms. A lively fugue follows in which all sections play an equal role as they explore independent playing. Written in the key of D minor, shifting is required for first violin and bass while cello uses extensions. An excellent study in Baroque bow style!
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: BT.DHP-1185865-010
This work was commissioned by the civilian wind orchestra Shimizu il compagno, based in Shimizu City, Shizuoka Prefecture, Japan, as a commemorative work for their 10th Anniversary. The world premiere was performed by the ensemble, conducted by Hiromichi Hamada in 2017. Having held discussions with the head of the orchestra, Tomohiro Tsuji, and members of the group, Satoshi Yagisawa settled on a central motif for this commemorative work: fellow, or companion, in the sense of the Italian il compagno, which features in the orchestra??s name. The work also strives to describe the characteristic friendliness of Shimizu city, a place known for itswarmth and kindness which is visible from both Mount Fuji and the sea. The composition is written in Yagisawa??s typical dramatic style with an atmosphere of scintillating light and lyrical warmth, making it an excellent choice for opening a concert. Dit werk werd geschreven ter gelegenheid van het tienjarig bestaan van blaasorkest ??Shimizu il compagno? uit de stad Shimizu in de Japanse prefectuur Shizuoka. Het hoofdmotief van de compositie is vriendschap, op basis van de Italiaanse term il compagno de kameraad uit de naam van het orkest. Ook beschrijft Festive Overture de vriendelijkheid en warmte die kenmerkend zijn voor Shimizu, een plaats die zichtbaar is vanaf zowel de berg Fuji als de zee. Het werk is geschreven in Yagisawa??s typerende filmische stijl, waardoor het een uitstekende keuze is voor de opening van een concert.Dieses Werk wurde vom städtischen Blasorchester Shimizu il compagno?? aus Shimizu City in der Präfektur Shizuoka in Japan anlässlich seines 10-jährigen Bestehens in Auftrag gegeben. Der Begriff Gefährte im Sinne des italienischen Wortes il compagno das auch im Namen des Orchesters verwendet wird wurde zum zentralen Motiv. Das Werk möchte au?erdem die für die Stadt Shimizu typische Freundlichkeit beschreiben, ein Ort, der für seine Wärme und Liebenswürdigkeit bekannt ist und sowohl vom Berg Fudschijama als auch vom Meer aus zu sehen ist. Die Komposition ist in Yagisawas typisch filmischem Stil geschrieben, wodurch sie sich hervorragend für die Eröffnungeines Konzerts eignet. Cette ?uvre a été commandée l??occasion du dixième anniversaire de l??harmonie « Shimizu il compagno » de la ville de Shimizu, préfecture de Shizuoka, au Japon. Son motif principal est le camarade, ou compagnon, dans le sens de l??italien il compagno qui figure dans le nom de l??orchestre. L???uvre cherche aussi communiquer l??ambiance chaleureuse de la ville de Shimizu, qui est réputée pour son hospitalité et sa bienveillance et que l??on aperçoit aussi bien depuis le mont Fuji que de la côte. Typique du style dramatique de Yagisawa, cette composition est idéale pour ouvrir un concert.
SKU: SU.00220518
This CD Sheet Music™ collection makes available Johann Sebastian Bach's numerous works for solo keyboard (excluding organ); plus 371 four-part chorales. Includes: English Suites, French Suites, Partitas, Toccatas, Two and Three-Part Inventions, Well-Tempered Clavier (Books I & II), Chromatic Fantasy & Fugue, Goldberg Variations, Italian Concerto, Overture in the French Style; also Anna Magdelana Bach Notebook, WF Bach Clavier Book, and miscellaneous pieces Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 1100+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: SU.00220617
This CD Sheet Music collection makes available on a USB flash drive Johann Sebastian Bach's numerous works for solo keyboard (excluding organ); plus 371 four-part chorales. Includes: English Suites, French Suites, Partitas, Toccatas, Two and Three-Part Inventions, Well-Tempered Clavier (Books I & II), Chromatic Fantasy & Fugue, Goldberg Variations, Italian Concerto, Overture in the French Style; also Anna Magdelana Bach Notebook, WF Bach Clavier Book, and miscellaneous pieces Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1100+ pages.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: BT.DHP-1094655-010
In his comic opera Banditenstreiche, Suppé uses all the qualities that have made him so well-loved by a wide audience. The appealing music is brimming with unexpected ideas and written in a light and fluent style. There’s much to enjoy with elegant arias and ensembles, pure Viennese waltzes and attractive ballet music. The arrangement of the overture contains many highlights from this opera and makes a superb light item for any concert. Franz von Suppé (1819-1895) behoort tot de belangrijkste vertegenwoordigers van de klassieke Weense operette. In de komische opera Banditenstreiche haalt Suppé alle kwaliteiten uit de kast die hem zo geliefd maakten bij hetgrote publiek: de aanstekelijke muziek is doorspekt met onverwachte invallen en in een lichte en vloeiende stijl geschreven. Er valt veel te genieten met elegante aria’s en ensembles, onvervalste Weense walsen en aantrekkelijke balletmuziek.De ouverture bevat enkele hoogtepunten uit deze opera, die vaak ten onrechte een operette wordt genoemd.Franz von Suppé prägte nachhaltig die klassische Wiener Operette. In seiner komischen Oper Banditenstreiche zog Suppé alle kompositorischen Register, die ihn bei einem so breiten Publikum beliebt gemacht haben: reizvolle Melodien, überraschende Ideen, ein leichter, flüssiger Stil und elegante Arien sind nur einige der charakteristischen Merkmale. Die Transkription der Ouvertüre für Blasorchester enthält einige Höhepunkte der Oper. Né d’un père belge et d’une mère autrichienne, Franz von Suppé (1819-1895) révèle un évident talent de musicien dès son plus jeune ge. Plus tard, il parfait ses connaissances musicales Vienne, où il résidera jusqu’ sa mort. Suppé a consacré sa vie la composition et bien qu'il ait écrit plus de deux cents œuvres, dont de nombreuses opérettes telles que La belle Galatée, Fatinitza et Boccaccio, il reste connu principalement pour ses ouvertures dont certaines bénéficient toujours d'une grande notoriété comme Cavalerie légère, La Dame de pique, Matin, midi et soir Vienne ou encore Poète et paysan. Franz von Suppé fut avec Johann Strauss etKarl Millöcker un des plus éminents représentants de l’ ge d’or de l’opérette classique viennoise.Dans sa version originale, l’opéra-comique Banditenstreiche (1867, Les joyeux bandits) était une œuvre courte en un acte, mais la version de Suppé fut modifiée deux reprises, en 1940 et 1955. D’une composition sans grande prétention, elle devint alors une œuvre d’envergure. En puisant dans le répertoire existant de Suppé, les « arrangeurs » réunirent six pièces originales pour en faire une partition solide et complète. Le résultat final est parfaitement équilibré.Banditenstreiche rassemble tous les traits caractéristiques de Suppé qui ont conquis un large public : une musique originale foisonnant d’idées inattendues ; un style fluide et léger. On y trouve des airs et des passages d’ensemble élégants, quelques authentiques valses viennoises et de belles pages de musique de scène. L’ouverture constitue une synthèse des meilleurs moments de l’opéra, très souvent qualifié tort, d’opérette.
SKU: BT.ALHE31554
French.
Following nearly 4 years without having composed a new symphony, although still writing opera overtures and works from orchestral serenades, Mozart composed the _x001A_Paris_x001A_ Symphony. Mozart received the commission from Joseph Legros,when him and his mother were in Paris in 1778.Mozart composed the work for the largest orchestra he_x001A_d written for until then in a symphony, marking the first time which he had used Clarinets in one of his symphonies. Mozart hadtaken pains to write the work in a style that would appeal to the French and, despite a dismal rehearsal, the first performance was well received.Available here is a study score of Mozart_x001A_s Symphony No.31 in D _x001A_Paris_x001A_ K.297, whichis ideal for study and perusal usage.
SKU: CA.3119400
ISBN 9790007181574. Language: German/English.
The cantata Hochsterwunschtes Freudenfest BWV 194 was composed for an organ dedication on 2 November 1723 in Stormthal, Saxony. A year later, and with just a few alterations, the cantata was performed again in Leipzig on Trinity Sunday. Our edition takes this Leipzig version of 1724 as its source. The special occasion of its composition is reflected in the extent of the composition which has twelve, instead of the usual six, movements. The orchestral scoring is for strings and three obbligato oboes. A special feature of the cantata is its structure as an orchestral suite. The beginning is a spirited opening chorus in the style of a French overture. The bass aria in the third movement has the character of a pastorale, and the following aria (movement 5) in turn has the character of a gavotte, etc. A simple four-part chorale concludes this multifaceted composition, marked by some extremely heartfelt moments.
SKU: BT.DHP-1186066-140
Stepstones was commissioned by the Harmonie Victoria Téiteng from Tétange (Luxembourg) for its 125th anniversary. The composer references the music of Rossini, who died 25 years before the commissioning band was founded. The second element this work refers to the legendary conductor and composer Leonard Bernstein who was born at the time the band celebrated its 25th anniversary. This spectacular overture has a strong historical and musical story and is ideal to open your concert in style and grandeur!Stepstones werd in opdracht van Harmonie Victoria Téiteng uit het Luxemburgse Tétange geschreven ter gelegenheid van haar 125-jarig bestaan. De componist heeft een aantal verwijzingen gebruikt naar de beroemde operacomponist Gioachino Rossini, die 25 jaar voordat het orkest werd opgericht is gestorven. Het tweede element in dit werk betreft de legendarisch dirigent en componist Leonard Bernstein, die werd geboren toen het orkest zijn 25-jarig jubileum vierde. Deze spectaculaire ouverture heeft dus een sterk historisch en muziek verhaal: ideaal om uw concert in stijl en met de nodige grandeur te openen!Stepstones wurde von der Harmonie Victoria Téiteng aus Tétange (Luxemburg) anlässlich des 125-jährigen Jubiläums in Auftrag gegeben. Der Komponist verwendete einige Verweise auf die Musik des berühmten Opernkomponisten Gioachino Rossini, der 25 Jahre vor der Gründung des Orchesters starb. Außerdem bezieht sich das Werk auf den legendären Dirigenten und Komponisten Leonard Bernstein, der zu der Zeit geboren wurde, als das Orchester sein 25-jähriges Jubiläum feierte. Diese atemberaubende Ouvertüre hat eine sehr historische und musikalische Geschichte und eignet sich bestens, um Ihr Konzert stilvoll und erhaben zu eröffnen!Stepstones est une commande de l’Harmonie Victoria Téiteng de Tétange (Luxembourg) pour la célébration de son 125e anniversaire. Le compositeur inclut des références musicales deux musiciens, notamment au compositeur d’opéra Gioachino Rossini, qui est mort 25 ans avant la fondation cette harmonie, et au légendaire chef et compositeur Leonard Bernstein, né 25 ans après sa création. Cette ouverture spectaculaire repose sur un récit historique et musical, idéal pour ouvrir votre concert avec panache !
SKU: BT.DHP-1165658-030
Dedicated to the North American Brass Band Association, this is music that is full of energy and dynamic extremes. In form it draws from the overture style, although the themes are self-existing and the piece is programmatic. Working well asa festival opener, it sets a mood of excitement. Following the rhythmic fanfares of the opening, the first theme is presented in the cornets followed by a return to the same rhythmic material. A second theme appears in the horn section and isdeveloped, changing into a darker and sinister form of the same motif. Eventually a Maestoso section is reached, full of sustained block chords in the cornets and trombones, as the rest of the band counters with cascading lines that weavestraight through the brighter instruments.Dit levendige werk vol dynamische uitersten is opgedragen aan de North American Brass Band Association. Qua vorm is het geënt op de ouverturestijl, hoewel de thema’s op zichzelf staan en het een programmatische compositie betreft. Het is heelgeschikt voor de opening van een festival, want het creëert een enthousiaste, verwachtingsvolle stemming. Na de ritmische fanfares van de opening wordt het eerste thema gepresenteerd in de cornetten, gevolgd door een terugkeer naar hetzelfderitmische materiaal. Er verschijnt een tweede thema in de hoornsectie, dat wordt doorontwikkeld en overgaat in een duistere en onheilspellende vorm van hetzelfde motief. Uiteindelijk komt er een maestoso gedeelte tot stand, vol aangehouden akkoordenin de kornetten en trombones, waarbij de rest van het orkest dalende lijnen produceert die door de helder klinkende instrumenten heen zijn geweven.Dieses Musikstück, das voller Energie und von extremer Dynamik geprägt ist, wurde der North American Brass Band Association gewidmet. Der formale Aufbau des Werkes orientiert sich an einer Ouvertüre, auch wenn die Themen für sich selbst stehenund das Stück programmatisch ist. Es eignet sich gut als Eröffnungsstück für ein Festival, da es das Publikum begeistern wird. Auf den Fanfarenrhythmus der Einleitung folgt das erste Thema, das von den Kornetten vorgestellt wird und schließlich zumursprünglichen rhythmischen Material zurückkehrt. Das zweite Thema wird von den Hörnern gespielt und weiterentwickelt, wobei das gleiche Motiv in eine dunklere und unheimlichere Stimmung wechselt. Danach erklingt ein Maestoso-Teil mit Akkordblöckenin den Kornetten und Posaunen, während das restliche Orchester kaskadenartige Melodielinien spielt, die sich durch die helleren Instrumente schlängeln.Dédiée la North American Brass Band Association, cette œuvre est pleine d’énergie et de dynamiques extrêmes. En dépit de sa forme d’ouverture, les thèmes ne sont pas liés et l’œuvre est programme. Convient comme pièce d’ouverture defestival et crée une ambiance d’enthousiasme. Suite aux fanfares rythmiques du début, le premier thème est présenté par les cornets piston, suivi par un retour au même matériel rythmique. Un deuxième thème apparaît dans le registre des cors et estdéveloppé, se changeant en une version plus sombre et sinistre du même motif. Finalement on arrive une section de Maestoso, qui contient de nombreuses double-cordes soutenues chez les cornets et trombones, tandis que le reste de l’ensemblerépond par des lignes descendantes qui se tissent travers les instruments plus aigus.