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Caricatures III by Jere Hutcheson. For Concert Band (Piccolo, Flute 1, Flute 2, Flute 3 (doubling piccolo), Oboe 1, Oboe 2, English Horn, Soprano Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Contrabass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Soprano Saxophone, Alto Saxopho). Band Music. Grade 5. Score and parts. Duration 32:10:00. Published by C. Alan Publications (CN.11620). 1 Salvador Dali - The Persistence of MemoryWith surfaces as smooth as shellac and images set down with photographic clarity, Dali brought a sense of reality to his bizarre and irrational dreamscapes. One of the best known of these, The Persistence of Memory, displays several limp timepieces in the foreground with a desert and lake in the background.2 Sammy Davis, Jr. - ShowTimeThe diminutive Sammy was a giant in the world of show business. Of his many talents, the one that delighted me the most was his tap dancing.3 Gertrude Stein - Pigeons on the grass alasGertrude was a master of nonsensical verse and stream of consciousness word sculptures. She could turn a phrase like no one else.4 Stephen King - All work and no play make Jack a dull boyAs Stanley Kubrick's film version of Stephen King's novel The Shining approaches its spine tingling climax, Wendy Torrance discovers that her demented writer husband, Jack, has filled hundreds of sheets of typing paper with the maxim All work and no play make Jack a dull boy.5 Marcel Duchamp - ReadymadeMarcel Duchamp anticipated pop art with his readymade sculptures. Two of my favorites are Rotary Demisphere and Bicycle Wheel.6 Felix Mendelssohn - Scherzo"Music that dances on its tiptoes," that's how I describe Mendelssohn's scherzo music.7 Kurt Vonnegut - Breakfast of ChampionsListen: It was the imaginary waitress at the imaginary cocktail lounge at the imaginary Holiday Inn who joked, "Breakfast of Champions" every time she served a martini.8 Alexander Calder - Forms in MotionAlexander Calder created ingenious and fanciful sculptures. Most famous perhaps are his floating airy mobiles. The artist also produced large immobile sculptures for parks, gardens, and public buildings called stabiles. My musical tribute to Calder is a sequence of five sound sculptures titled Forms in Motion.9 Nicolai Rimsky-Korsakov - BumblebeeRimsky-Korsakov, composer of operas, ballets, and tone poems, is best remembered today for a handful of colorful works, each characterized by brilliant orchestration. Among these is the diminutive Flight of the Bumblebee. My tribute to Rimsky is simply titled Bumblebee.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Soprano Saxophone, Bassoon, English Horn, Double Bass, Woodwinds, Clarinet, Saxophone, Strings
Wind Symphony No. 1 by Nancy Galbraith (1951-). For Concert Band (2 flutes, 2 oboes, Eb clarinet, 3 clarinets*, bass clarinet, 2 bassoons; 2 alto saxophones, tenor saxophone, baritone saxophone; 4 horns, 4 trumpets, 3 trombones, euphonium, 2 tubas; timpani, 4 percussion, piano/synthesizer, string-bass (*at least 2 per p). Set of Parts. Composed 1996. Duration 17'. Published by Subito Music Corporation (SU.90810051). 1. Allegro; 2. Andante; 3. Vivace Former title: If Rachael in a Yellow Rose "fantastic landscapes... -Records International "Galbraith's music for wind ensemble gives her a chance to show off her considerable skills as an orchestrator of winds and percussion. Her Wind Symphony I is a gaudy creation, imposing in its martial and celebratory granduer. It mixes lush harmonies and minimalist pulsings with gamelan-style superimpositions of long, slow lines over faster ostinatos..." -American Record Guide.
Instruments: Piano, Flute, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Sinfonia No. 3 (La Salsa) by Roberto Sierra. For Concert Band (2,1 2,1 4,bass clarinet 2,1; soprano sax, alto sax, tenor sax, baritone sax; 4331 euphonium; timpani, percussion, harp, piano). Score & Part(s). Composed 2005/2009. Duration 23'. Published by Subito Music Corporation (SU.92070296). Score: available for sale (#92070295).
Instruments: Piano, Bass Clarinet, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Harp, Euphonium, Percussion, Timpani, Piano and Keyboard, Clarinet, Woodwinds, Saxophone, Strings, Brass
Genres: Classical, Salsa, Latin
(For Symphonic Band - Full Score and Parts). By David Maslanka. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Horn I, Horn II, Hor. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 78 pages. Duration 8 minutes, 30 seconds. Published by Carl Fischer
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, Flute, Woodwinds, Clarinet, Saxophone, Brass, Strings
Genres: 20th Century, Classical
Lead Me Back to Bethlehem - Instrumental Score and Parts (Rediscovering the Joy, Peace, and Love of Christmas). By Pepper Choplin. Arranged by Michael Lawrence. Cantatas. Christmas, Sacred. Instrumental score and parts. Published by Lorenz Publishing Company (LO.30-2697L). The instrumental score and parts for "Lead Me Back to Bethlehem" include a Conductor's Score and parts for Flute, Oboe (sub Clarinet), Clarinet, optional Bassoon (sub Bass Clarinet), Horn (sub Alto Saxophone), Percussion, Timpani, Piano, 2 Violins, Viola, Cello, Bass (String Reduction included).
Instruments: Choir, Piano, Flute, Bass Clarinet, Oboe, Alto Saxophone, Bassoon, Horn, Violin, Cello, Viola, Percussion, Timpani, Vocal, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings
Genres: Christian, Christmas, Religious, Miscellaneous
Concert Pour Hautbois (Ou Clarinet) by Vincenzo Bellini (1801-1835). Arranged by O. Zurmuhle. For Concert Band. Arrangements of Classical Pieces / Oboe/Bassoon Solo and Wind band / Clarinet Solo and Wind Band / Saxophone Solo and Wind Band. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.011103080). This splendid Oboe Concerto in this fine arrangement by Otto Zurmuhle has been in our catalogue for many years. The release of the Twente Conservatory Band compact disc allows us to spotlight this beautiful oboe piece once more.
Instruments: Oboe, Saxophone, Woodwinds
Genres: Classical, Classical Period, Opera, Miscellaneous
Contraste. (Alto Saxophone and Concert Band). By Serge Lancen. For Concert Band. Solo Concerts / Saxophone Solo and Wind Band. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.012212080). Contraste for alto saxophone (1992) is a second composition written as a tribute to Adolphe Sax. It was commissioned by and is also dedicated to the excellent Swiss amateur saxophonist Dante-Charles Luini. The contrasting themes are at the origin of the title. Tenor and baritone saxophones of the band accompany the soloist. The work was brilliantly premiered for this CD recording session by Jean Pennings.
Instruments: Alto Saxophone, Saxophone, Woodwinds
Genres: 20th Century, Classical
Flash!. (For Piccolo and Band). By Daniel Dorff. Concert band. For Solo Piccolo, 2 Flutes, 2 Oboes, Eb Clarinet, 2 Bb Clarinets, Bb Bass Clarinet, 2 Bassoons, Contrabassoon, 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb Baritone Saxophone, 3 Bb Trumpets, 4 F Horns, 2 Trombones, Bass Trombone, Euphonium, Tuba, 3 Percussion. This edition: Band. Walfrid Kujala piccolo, Mitchell Fennell conducting the California State University - Fullerton wind ensemble, at 2010 NFA convention. Contemporary. Score and part(s). Standard notation. Composed OCTOBER 2008. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company (PR.115402040). With Standard notation. contemporary. Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Tuba, Flute, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Concerto for Piano, Winds & Percussion. (Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Solo Piano, Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in A 1, Clarinet in A 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in C 1, Trumpet in C 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone,). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.09970). Also available for Solo Piano and Percussion Orchestra (Item #06530).
Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Bass Trombone, Percussion, A Clarinet, C Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trombone, Trumpet
Tails aus dem Vood Viennoise by Connor, Bill (B. 1949). For Wind Symphony or Band (49 players): 6+2, 2+1, 6+2+Eb, 2 - AATTBt saxophone - 2, 7, 3+euphonium, 4 - timpani, percussion(4). Tone Poems; Original Works. Maecenas Millenium. Grade 5. Score and set of parts. Composed 1992. Duration 23 minutes. Published by Maecenas (MT.C0016-SET).
Instruments: Saxophone, Euphonium, Percussion, Timpani, Woodwinds, Brass
Danse Funambulesque by Jules Strens. For Concert Band (Piccolo, Flute 1 & 2, Oboe 1, Oboe 2, English Horn, Bassoon 1 & 2, Contrabassoon*, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Contrabass Clarinet*, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bass Saxophone*, Bb Corn). Band Music. Grade 6. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.16120). Written in 1929, this diptych, originally conceived as an accompaniment to a choreographic impression, consists of a rather tragic first part and an exuberant second part leading to a frantic finale. The most original aspect of this composition is undoubtedly its polyrhthmic character, whereas the beautiful flute solo part should also be mentioned.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, Double Bass, Woodwinds, Clarinet, Saxophone, Strings
Sinfonietta by Gerard Gastinel. Woodwind orchestra. For 4 Flutes, 12 Clarinets in Bb (1-4, 5-8, 9-12), 1 oboe (or soprano saxophone), 2 alto saxophones, 1 baritone saxophone, Trumpets 1 and 2, Trumpets 3 and 4, 2 Trombones and/or 2 tenor saxophones, 1 Tuba, 2 double basses, Percussion : 2 suspended cymbals, 1 . This edition: Instrumental. Orchestra music. Instrumental parts. 12 pages. Published by Anne Fuzeau Productions - France (FZ.3063). ISBN M230630634. 21 x 29.7 cm inches. This editorial collection depends to a great extent on the creativity of young composers. This music score was composed by Gerard Gastinel for wind orchestra. 4 Flutes12 Clarinets in Bb (1-4, 5-8, 9-12)1 oboe (or soprano saxophone)2 alto saxophones1 baritone saxophoneTrumpets 1 and 2Trumpets 3 and 42 Trombones and/or 2 tenor saxophones1 Tuba 2 double bassesPercussion : 2 suspended cymbals, 1 hit-hat, 2 bongos, 3 toms, 1 snare-drum, 1 bass drum.
Instruments: Flute, Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Double Bass, B-Flat Trumpet, Trombone, Percussion, Tuba, Woodwinds, Saxophone, Strings, Trumpet, Brass
Three Japanese Dances by Bernard Rogers. Concert Band. For C Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn, Eb Clarinet, Bb Clarinet I, Bb Clarinet II, Bb Clarinet III, Eb Alto Clarinet, Bb Bass Clarinet, Bbb Contrabass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Eb Alto Saxophone, Eb Baritone Sa. First performed by the Rochester Philharmonic Orchestra under the direction of Howard Hanson. Contemporary. Score and Set of Parts. Standard notation. 40 + pages. Duration 10 minutes, 40 seconds. Published by Theodore Presser Company (PR.115400390). With Standard notation. contemporary.
Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Bassoon, English Horn, Double Bass, Flute, Woodwinds, Clarinet, Saxophone, Strings
Tableaux de Provence (Suite for Alto Saxophone and Orchestra). By Paule Maurice. Arranged by Maarten Jense. For Alto Saxophone and Concert Band. Grade 4. Full score and set of parts. Duration 14:00. Published by Baton Music (BF.BM274-SET). Paule Maurice composed Tableaux de Provence for saxophone and orchestra between the years 1954 to 1959 and dedicated the piece to her friend Marcel Mule. It is a standard among the classical literature for the instrument. With tricky passages, interesting harmonies, and tough accidentals every soloist is sure to be challenged by this great work. Tableaux de Provence is a programmatic work and the piece has five movements.
Instruments: Alto Saxophone, Saxophone, Woodwinds
A Symphony for Salem by D. Mark McCoy. For Concert Band (Piccolo/Alto Flute, Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1-2, F Horn 3-4, Trombone 1, Trombone 2). Grade 5. Score and parts. Duration 19:50. Published by C. Alan Publications (CN.08880). "Thou shalt not suffer a witch to live..." Exodus 22:18Movement I: THE DANCEAccording to Arthur Miller's play, "THE CRUCIBLE", the entire episode began when several young girls (one the daughter of the minister) were caught dancing nude in the fields. To escape the harsh puritan punishments administered for their sins, the girls claimed Tituba, a slave woman from Barbados, had "conjured" spirits. This movement evokes the mood of that first night as each of four instruments (flute, oboe, clarinet and bassoon), portrays one of the antagonists on their journey into the forest on that dark night. The "devil's voice" is heard in euphonium as he changes the mode of the girls dance theme. As the dance builds to a feverish climax, the strains of music from the church are heard echoing in the distance. The dissonance of these themes is indicative of the inherent conflict in the young girl's actions. "The Devil's Waltz" is heard as the girls join in the seductive, ritualistic dance. The initial dance theme is heard again (with its modal alterations) as the girls return to the village and the church. The last strain of the movement corresponds to the line from the hymn "for still our ancient foe doth seek to work us woe..."Movement II: SCENES FROM THE VILLAGE (THE ACCUSED)Salem village was a contentious place full of hard-working, deeply religious people. The town had been suffering land battles for years. The New England winters were dull and hard and there was little to do as celebratory events such as Christmas or Mardi Gras were forbidden. The Village had been caught up in serious disputes with three previous ministers before it finally settled on its fourth, the Reverend Samuel Parris. The power of God and Satan was unquestioned. In this environment, hysteria could run rampant on this sleepy village. Between June and September of 1692, scores of men and women were accused of and tried for witchcraft. Themes in this movement represent two married couples and an old matron accused and executed as witches. Rebecca Nurse was a pious, nearly deaf, seventy-one year old woman. She replied to her accusers "OF this thing I am innocent as a child unborn, but surely, what sin hath God found in me unrepented of that He could lay such an affliction on me in my old age?" Martha Cory denied ever having been a witch and her husband Giles, in his humility had actually testified against her. John Procter was one of the first to speak out against the girls. "If they are let alone we should all be devils and witches." When first his wife and then he himself were accused, witnesses said that it met with much skepticism. The movement begins with Rebecca's theme, it's spinning continuo emblematic of her rocking chair. She had seen difficult times before; just when it seems her theme will stop, it finds the strength to continue. Next the "Cory theme" is heard representing the old couple trying to survive the harsh winter. As the village comes to life, their themes are turned into fugue and double fugue. As the movement nears its end, a love theme is heard representing the strong bond between the Proctors. Their theme is honest, strong and consonant, until the added Eb gives the theme an uneasy feeling of some discord lurking below the surface of this serene melody.Movement III: THE TRIALIn all, fourteen women and six men were put to death as witches. Nineteen of them were hanged. In an attempt to coerce a confession, Giles Cory was "pressed" to death by adding rocks to his chest until he was crushed. Reportedly his last words were "More Weight". Despite their high place of esteem in the community. the Proctors were given to the gallows to appease the screaming children. Even pious, God-fearing Rebecca Nurse was sent to Gallows Hill.The trials were a mockery of judicial restraint. When the accused were lead in, the girls would fall writhing on the floor, accusing the defendants of attacking, pinching, or biting them. If the judges remained unimpressed, the girls would claim the "witches" were sitting on the beams over their heads. The courtroom was a cacophonous, wicked circus with no chance of defense or search for the truth. This movement recreates the air of frustration and confusion as each of the accused are lead in, questioned and interrupted as they attempt to defend themselves. An eight-note theme is truncated again and again as if it were sand passing through an hourglass, for once in the courtroom, it was simply a matter of time until the guilty verdict was issued. The "Cory theme" is heard First and, as they state their case, the people of the village join in to claim their innocence. Their defense goes unheard. Martha is sent to the gallows and Giles is "pressed" to death. The love theme of the Proctors is heard again but it too is interrupted and ignored. They are sent to their deaths. Rebecca's theme is uttered softly to no avail; unlike before, it hasn't the power to continue. She is condemned to death as well.Movement IV: THE QUESTIONFinally, the Governor of Massachusetts forbad the use use of "spectral evidence" in the proceedings. The girls were silenced. Several months after the fury had dissipated, the "afflicted" girls were walking in a nearby town. As they passed a woman that they did not know, they fell writhing on the ground, accusing the woman of witchcraft. However, the people of this town paid the girls no attention. They had no desire to repeat the sins of Salem. The surprised girls rose and went on their way. No words were spoken, no names and deeds given, no apparitions imagined or explained.Narcissism would have us believe that that incident closed the book on witch trials in America. But history proves otherwise. The innocent people whose lives were wrecked by the McCarthy Hearings as recently as the 1950's relived the sins of Salem in a very real sense. The perrenial election-year arguments are at times eerily reminiscent of the witch hunts. "Those who do not study history are doomed to repeat it..." it would seem as true for most who do. Despite the fact that we condemn the people of Salem, we are all too capable of repeating their mistakes. The question is unfortunately not "will it happen again?" but "when......?".
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Symphony for William by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Eb, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2, Trumpet 3,). Band Music. Grade 6. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.16230). This dramatic three-movement work is Derek Bourgeois at his best. Angular melodies and masterful scoring characterize this 20-minute symphony.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical, 20th Century
Symphonies de Noel by Clark Mcalister (1946-). For Wind Symphony or Band (36 players): 3d1, 2d1, 3+1+Eb, 2 - A(dS)ATBt saxophone - 4, 3+2 flugelhorns, 3+euphonium, 1 - timpani, percussion(4), double bass. Symphony; Original Works; Carols; Suites. Maecenas Millenium. Grade 5. Score and set of parts. Composed 1997. Duration 11.5 minutes. Published by Maecenas (MT.C0042-SET).
Instruments: Saxophone, Double Bass, Flugelhorn, Euphonium, Percussion, Timpani, Woodwinds, Strings, Trumpet, Brass
Genres: Classical, Christmas, Miscellaneous
Suite by Gabriel Grovlez (1879-1944). For alto saxophone in Eb solo, string quintet (violin 1 and 2, viola, cello and double bass), horn in F, flute and harp. This edition: Instrumental. Small ensemble music. Grade 3. Instrumental parts. 9 pages. Duration 16 minutes. Published by Anne Fuzeau Productions - France (FZ.3390). ISBN M230633901. 21 x 29.7 cm inches. For alto solo saxophone in Eb, strings' quintet (violin 1 and 2, alto, cello and double bass), horn in F, flute and harp.
Instruments: Flute, Alto Saxophone, Horn, Violin, Cello, Viola, Double Bass, Harp, Woodwinds, Saxophone, Brass, Strings
Genres: 20th Century, Classical
Symphony AD 78 by Gordon Jacob (1895-1986). For Concert Band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, Bassoon 1/2, Eb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, 1st Bb Cornet, 2nd/3rd Bb Cornet, 1). Band Music. Grade 5. Score and parts. Duration 15:30. Published by C. Alan Publications (CN.R10158). With this Symphony, Gordon Jacob proclaims his absolute mastery of idiom and instrumentation with a triumphant rejoicing. Written in 1978 as a commission from Arthur Doyle (hence the "AD" in the title, a typical piece of Jacob wit), it lay virtually unplayed save for the efforts of his Estate, Troy Peterson and Geoffrey Brand and CBDNA (College Band Directors Association, USA), who between them ensured that it was professionally recorded in 1994 and published in 1995.There is little point in indulging in semantics as to whether the piece is a Symphony. It is Jacob's approach to his tuneful, folk-based material which is symphonic: weighty in exposition and development, sonorous and expressive in the slow movement, with a scherzo-like last movement and a giocoso coda.After a brilliant opening fanfare, the quick triple-meter first theme (Allegro Risoluto) is introduced on clarinets, punctuated with brass. It is soon followed by a contrasting melody for saxophone. In all this material the interval of a 4th is prominent, and throughout the work the 4th and 7th are important. Perhaps it is the frequent use of the 7th which gives a feeling of restlessness without resolution which pervades this movement as the themes are dissected and developed.The second movement follows directly after a horn bridge. Still the melody outlines the 7th and the ear is not satisfied until the full band (with organ), comes to rest in Bb major. This point of repose and the magic pianissimo which follows shortly after when the slow theme is re-stated, are the apex of the Symphony's construction.Soon, however, we are transported, via a fanfare, into a helter-skelter 9/8 romp: rustic, English, and almost vulgar, this theme is thrown around the group before exploding into a boisterous 2/4 coda.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Cornet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical, 20th Century
Trombone Concerto. (Trombone Feature). By Derek Bourgeois (1941-). For Soloist(s) with Concert Band (Solo Trombone, Piccolo, 1st Flute, 2nd Flute, Oboes, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st/2nd F Horn, 3rd/4th F Horn, 1st B). Band Music. Platinum Band Series. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.R10024). The first movement of Derek Bourgeois' Trombone Concerto is constructed Classically: the solo trombone immediately launches into the opening theme in F minor, conceived harmonically in a sequence of descending thirds and it is the solo trombone too that introduces the lyrical second idea, in A flat, presented over chords which are given mobility by dark-toned alto and bass clarinets.These contrasting subjects give the composer ample opportunity to let loose his fertile imagination, whether expanding on the Baroque qualities of the opening material in a fugato section for woodwinds, or boldly stating the romantic second theme on brass leading to cascading sextuplets, or with the soloist presenting the first theme in augmentation against a ripple of semi-quavers.After this development, there is virtually a formal recapitulations in the woodwinds and the soloist repeats the second theme in tonic (F) major. The movement closes with pianissimo chords - no great bravura here, but leading us in mood to the second movement which opens a tone lower in E-flat.Here, the rich tone of the soloist is matched by three accompanying trombones - with the writing equaling the expressiveness of a cello quartet. Gradually, the rest of the low brass join as the solo trombone weaves a seamless, almost Wagnerian theme, extending phrases sequentially. This movement has two separate thoughts and a solo clarinet answers the trombone with a new theme accompanied only by three horns, euphonium, and pizzicato string bass.Whilst most of the slow movement is contemplative, Bourgeois allows the band to unleash the full fortissimo passion implied in the second, clarinet theme, before the movement closes as it began - but this time only two trombones accompany the soloist, and all three are muted.After the passion of the slow movement, Bourgeois adopts a Classical rondo form as a 6/8 Scherzo, marked Presto, which gives the release we need. It is fun, to be thrown off lightly as we enjoy the semitone shifts with a wry smile. Towards the end of the movement is a cadenza which alludes to the thematic content of the first movement, but aurally the hard work has been done. For the soloist however, the music requires a virtuoso combination of slide and tongue.Derek Bourgeois' Trombone Concerto was commissioned by the British Trombone Society for the International Trombone Workshop at Eton, England, July 1989 with gratefully acknowledged assistance from Southern Arts. The world premiere was given by Christian Lindberg.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Horn, Trombone, Woodwinds, Clarinet, Saxophone, Brass
Genres: Classical, 20th Century, Latin
Variations on a Bass Theme by Geoffrey Brand. Arranged by Geoffrey Brand. For Concert Band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Bariton). Band Music. Grade 5. Score and parts. Duration 10:00. Published by C. Alan Publications (CN.R10254). "Variations on a Bass Theme" was written in 1986 for brass band and the original version was titled "Diversions on a Bass Theme." The composer himself wrote:"This piece is a set of variations. Traditionally variations were what they said they were, i.e. a given tune was treated in a variety of ways. The pattern of this work is made the other way round: a number of tunes grow out of the first bar, played by the tubas, which provide the motif for the whole work.Arranger's Note:The suggestion to arrange the work for symphonic wind band came from George Lloyd: he felt the piece lent itself to such transcription and asked if I would be interested in undertaking it. Interestingly, he always referred to the piece as his Variations on a Bass Theme and I have reflected this in the title of this concert band version. In all other respects the work is exactly as George Lloyd wrote it.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Woodwinds, Clarinet, Saxophone
Concerto for Saxophone & Wind Symphony. (Saxophone Feature). By Jere Hutcheson. For Soloist(s) with Concert Band (Piccolo, Flute 1/2/3, Oboe 1/2, English Horn, Soprano Clarinet in Eb, Clarinet in Bb 1/2/3, Bass Clarinet in Bb, Bassoon 1/2, SOLO ALTO SAXOPHONE (doubling Soprano Saxophone in 2nd mvt), Trumpet in Bb, Horn in F 1/2, Trombone 1, Bass Trombone, Euphonium, ). Band Music. Grade 5. Score and parts. Duration 18:00. Published by C. Alan Publications (CN.14140). Concerto for Saxophone is dedicated to Joseph Lulloff, saxophonnist, and The Michigan State University Wind Symphony, John Whitwell, conductor.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Soprano Saxophone, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Trombone
Symphony No. 2: Genesis by David Gillingham. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, English Horn, Bassoon 1/2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in B). Band Music. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.14760). Like Symphony No.1 (Apocalyptic Dreams), Symphony No. 2 ("Genesis") is programmatic and based on Biblical scripture. Symphony No. 2 is inspired by the first nine chapters of Genesis and is divided into five movements: I. In the beginning; II. Eden and the forbidden fruit; III. Noah and the Ark; IV. The floodgates of heaven; and V. The sign of the covenant.Movement I. In the beginning, opens mysteriously with the whirring of flexible plastic hoses in the percussion and a pedal G in the vibraphone which signify chapter 1, verse 2, "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters." God's presence and voice are represented by repeated notes leading to a note a half step above and then back down, (the "God motive") first heard by the horns in the thirteenth measure. Following are ascending passages in the Eb clarinet over harp-like passages in the piano indicative of chapter 1, verse 3, "And God said 'Let there be light', and God saw that the light was good, and he separated the light from the darkness." An accumulation of texture follows building into an expansive tone cluster which breaks into G major with a soaring melodic line in the horns. The section represents chapter 1, verse 6, "And God said, 'Let there be an expanse between the waters to separate water from water.'" Ensuing is the essence of chapter 1, verse 11, "Then God said, ' Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.'", and chapter 1, verse 14-15, "And God said, 'Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, and let there be lights in the expanse of the sky to give light on the earth.'" Strident articulations of chords along with the brake drum begin this section, likened to lightening, followed by rustling in the clarinets over clusters in the brass followed again by a soaring horn melody emulating the voice of God. Trills and ascending passages in the woodwinds and piano over low brass chords characterize the next section which expresses the creation of living creatures expressed by chapter 1, verse 20 and 24, "And God said, 'Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky'"; "And God said, 'Let the land produce living creatures according to their kinds: livestock, creatures that move along the ground, and wild animals, each according to its kind.'" A quiet and most reverent section ensues which expresses the voice of God (the "God motive") as He creates his most prized possession, Man, as written in chapter 1, verse 26, "Then God said, 'Let us make man in our image, in our likeness and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground'". The movement ends with a sort of benediction which utilizes the "God motive" and ends quite peacefully in G major, all inspired by chapter 2, verse 2, "By the seventh day God had finished the work he had been doing; so on the seventh day He rested from all His work.'"Movement II. Eden and the Forbidden Fruit, seeks to exploit both the beauty and the wrath of God. The first part of the movement is devoted to the Garden of Eden, the creation of the woman (Eve) and The Tree of Knowledge of Good and Evil. Verses 8-9, 16-17, and 21-22, from the 2nd chapter of Genesis provide the inspiration for this part of the movement: "Now the Lord God had planted a garden in the east, in Eden; and there He put the man He had formed. And the Lord God made all kinds of trees grow out of the ground--trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil." "And the Lord God commanded the man, 'You are free to eat from any tree in the garden; but you must not eat from the tree of the knowledge of good and evil, for when you eat of it you will surely die.'" "So the Lord God caused the man to fall into a deep sleep; and while he was sleeping, He took one of the man's ribs and closed up the place with flesh. Then the Lord God made a woman from the rib He had taken out of the man, and He brought her to the man." The mood begins to change when the euphonium plays the first two phrases of the hymn O God Our Help in Ages Past (Tune by William Croft 1708; "St. Anne"). Tempted by a most crafty serpent, Adam and Eve eat the forbidden fruit from the tree of knowledge of good and evil: "When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it" (chapter 3, vs. 6). The hymn abruptly ends articulated by stopped horns. Following, is a section filled with angry and evil motives and dissonant textures which allude to the consequences of eating the forbidden fruit: "To the woman he said, 'I will greatly increase your pains in childbearing; with pain you will give birth to children. Your desire will be for your husband, and he will rule over you'" (chapter 3, vs. 16). And to Adam he said, "Cursed is the ground because of you; through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return" (chapter 3, vs. 17-19). The movement ends in woeful reflection of the curse that God bestowed upon mankind.Movement III. Noah and the Ark, is in a scherzo-trio structure. The scherzo section is set in compound duple meter and reflects Noah's overwhelming job to build a most expansive ark as described in chapter 6 of Genesis. The trio is almost child-like in mood and quotes the hymn All Things Bright and Beautiful (Words by Cecil F. Alexander, 1848, 17th century English melody):All things bright and beautiful,All creatures great and small,All things wise and wonderful,The Lord God made them all.The hymn serves to create the image of boarding all the "creatures" on the ark: "You are to bring into the ark two of all living creatures, male and female, to keep them alive with you. Two of every kind of bird, or every kind of animal and of every kind of creature that moves along the ground will come to you to be kept alive." (Chapter 6, vs. 16-20.) The recapitulation of the trio is interrupted by a dissonant textural crescendo leading to movement IV.Movement IV. The Floodgates of Heaven, begins with falling rain (closed hi-hats) over a pedal Eb. After several strikes of lightning, tutti chords, the heavens open up and it begins to pour (cascading woodwind passages). As described in Chapter 7, vs. 11-12: "In the six hundredth year of Noah's life, on the seventeenth day of the second month--on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened. And rain fell on the earth forty days and forty nights." Under the cascading woodwinds the horns and trumpets sing a theme of destruction. The intensity grows and reaches its height in C major and becomes quiet with a repeated eighth note pedal on C in the trumpets. Then, motives from the death chant, Dies Irae, appear in the woodwinds and piano representative of Chapter 7, vs. 23: "Every living thing on the face of the earth was wiped out; men and animals and the creatures that move along the ground and the birds of the air were wiped from the earth. Only Noah was left, and those with him in the ark." The section builds to a partial statement of the chant by the full ensemble ending with a pedal on G by the timpani.Movement V. The Sign of the Covenant is the fifth and final movement of the symphony. The first part of the movement reflects the dove sent by Noah to find land. The piccolo solo aptly alludes to the bird as it flies toward land and brings back the olive branch: "He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf! Then Noah knew that the water had receded from the earth" (chapter 8, vs. 10-12). Below the continuing song of the piccolo (the dove), the horns sing a theme of celebration as Noah and the animals step off the ark onto dry land. A prayer follows with a series of overlapping cadences alluding to Noah building an altar and God vowing not to ever again destroy the living things on earth (chapter 8, vs. 20: "Then Noah built an altar to the Lord.."; Chapter 8, vs. 21-22: "Never again will I curse the ground because of man, even though every inclination of his heart is evil from childhood. And never again will I destroy all living creatures, as I have done."). The symphony ends in fanfare modulating dramatically to E major and then fading away to a single E major chord in the marimba which then fades to silence (Chapter 9, vs. 12-13: "This is the sign of the covenant I am making between men and you and every living creature with you, a covenant for all generations to come: I have set My rainbow in the clouds, and it will be the sign of the covenant between Me and the earth.").Dedicated to Dr. Mallory B. Thompson in celebration of her first decade as Director of Bands at Northwestern University.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Treble Concerto by Ted Huggens. For Fanfare Band. Solo Concerts / Clarinet Solo and Wind Band / Saxophone Solo and Wind Band / Trumpet/ Cornet/ Flugel horn/Baritone Solo and Wind Band / Original Works Light Music Repertoire. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.021475070).
Instruments: Saxophone, B-Flat Trumpet, Cornet, Flugelhorn, Woodwinds, Trumpet, Brass