Cast in three main sections, Chant Rituals makes use of two contrasting thematic statements to exploit the timbral and rhythmic resources of the symphonic band. Reminiscent of medieval plain chant, the principle theme is introduced in the brasses and is coupled with an energetic and rhythmic accompaniment from the woodwinds and percussion. A highly chromatic and sensual middle section demonstrates a unique combination of timbral colors. Drawing from a broad pallet of percussive sounds in concert with the human voice and the flute section, an intriguing mixture of sounds is achieved . The conclusion of a lyrical alto saxophone solo in the middle section marks the reprisal of the principle chant theme and a lively and dynamic finale to the piece.
Three on the Isle Hugh Stuart once again demonstrates his rare ability to capture in his music the unique flavor of the British Isles. Great Britain's rich heritage of folk music takes on a whole new dimension in these delightful movements, entitled Song From Wolking Castle, Ayre For Betws-y-Coed and A Tune From County Antrim.
Antithigram is coined from the words antithesis and program. The work is bi-thematic (2 themes). The first theme is comprised of eleven notes, the second is more like a chorale in structure. A four-note tone cluster (B flat, C, F sharp, B natural) appears at the opening of the piece, and subsequently appears as an arpeggiated ostinato (B flat, C, and F sharp, in orchestra bells and vibraphone) that underline later sections. After the themes are treated in a number of traditional ways (two-voice counterpoint, canon, chorale, and diminution) they join together in an ensemble statement. The work is performed with high energy and with particular attention to articulations. This is one of the two pieces that earned the students a superior rating at both the county and state adjudication festivals.
West Side Story When Jerome Robbins, Leonard Bernstein and Arthur Laurents originally conceived the idea of writing a musical version of William Shakespeare's Romeo and Juliet, they planned to call it East Side Story and center it around a star-crossed romance between Jewish boy and an Italian Catholic girl. Because of other commitments, however, they were forced to shelve the project for six years, and by the time they returned to it, they decided that this idea had lost its social relevancy. Instead, they would tell the story of a native-born Polish boy and a Puerto Rican girl newly arrived in America--and they would set it against the backdrop of clashing street gangs on the city's West side. At this point, Bernstein decided against writing his own lyrics and offered the job to a virtually unknown lyricist named Stephen Sondheim.
West Side Story remains true to its Shakespearean model. Things look good for the young lovers in the beginning, but when Tony--much like Romeo--accidentally kills his lover's brother while trying to break up a rumble, violence erupts. The musical received rave reviews for its unflinching portrayal of gang life.
Duthoit’s arrangement of West Side Story features the pieces I Feel Pretty, Maria, Somethin’s Comin’, Tonight, One Hand, One Heart, Cool, and America.
“Of Dark Lords and Ancient Kings is my best selling piece of all time, and is one of my personal favorites,” says Roland Barrett. Of Dark Lords And Ancient Kings was commissioned by the Central Oklahoma Directors Association (CODA) for their annual Honor Band Festival. The premiere performance was by the CODA Junior High Honor Band on January 8th, 1994, in Oklahoma City, Oklahoma. The work is evocative of the title, with low sonorities darkly scored against themes which conjure up images of past splendor. Its form is episodic, with juxtaposition of sections of different tempos and themes. Barrett makes use of twentieth-century techniques including aleatoric music, ostinati, modality, mixed meter, and extensive use of percussion. This was the second work that helped the students achieve superior ratings at both adjudication festivals.
In its original form, Franz Biebl’s Ave Maria (1967) is written for expanded male chorus, beginning with an antiphon sung by a four-part choir, answered by a smaller three-part choir. In our arrangement the vocal part is performed by a euphonium soloist followed by an English horn solo, and then a French horn solo. The source of the Latin text is the Angelus liturgy, which is recited three times a day (6am, noon, and 6pm) in the Catholic Church. It is cued by a bell (sometimes referred to as the “Peace Bell”), and consists of three versicles based on the Gospel, followed each time by a Hail Mary (“Ave Maria”). It was popularized in the United States in large part because of the magnificent recording by the famed male chorus, Chanticleer. This arrangement, with its lush tonalities, is truly a remarkable work for a young ensemble.
Rush was commissioned for the sixtieth anniversary of the Wenger Corporation (most commonly known as the company that makes music stands) intending to serve as a gift to every past, present and future customer of the Wenger Corporation. During its composition, Rush turned into "a piece I thought I would never write: Ride, Part II." (Ride is a companion, earlier work of Hazo) Hazo goes on to add, "I used percussive patterns that I heard from the machinery at the Wenger plant during my visit to Owatonna, MN. Once those rhythmic patterns were established, I added some themes that were upbeat and celebratory. After the piece was about half done, I thought to myself that Rush picks up right where Ride left off. When it was totally completed, there was no doubt in my mind as to their similarities. People were going to call it a "follow-up" work whether or not I labeled it as such. The composition was completed and I still hadn't thought of a title for what was basically "Ride II". I mentioned this to David Starnes at Kennesaw Mountain High School. David had seen the score and was beginning preparation with his band for its premiere at the Midwest Clinic. Later that same day I thought of the name "Rush" and liked the way it fit. The next morning, David called me and said, "Sam, I have the perfect name for "Ride, II". Tell me if you like it - Rush."
Samuel R. Hazo resides in Pittsburgh, Pennsylvania with his wife and three children. In 2003, Mr. Hazo became the first composer in history to be awarded the winner of both composition contests sponsored by the National Band Association. He has composed for the professional, university and public school levels in addition to writing original scores for television, radio and the stage. Hazo has been a music teacher at every education grade level from kindergarten through college, including tenure as a high school and university director. He is also a guest clinician and conductor for the Hal Leonard Corporation.
Johan de Meij’s first symphony The Lord Of The Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book.
The Symphony was written in the period between march 1984 and December 1987, and had its première in Brussels on 15th March 1988, performed by the “Groot Harmonie-orkest van de Gidsen” under the baton of Norbert Nozy. In 1989, The Symphony THE LORD OF THE RINGS was awarded a first prize in the Sudler International Wind Band Composition Competition in Chicago, and a year later the symphony was awarded by the Dutch Composers Fund. In 2001, the orchestral version was premiered by the Rotterdam Philharmonic Orchestra.
The Lord of the Rings - J.R.R. Tolkien
Although it is not simple to summarize such an extensive and complex work, the main outline is as follows: the central theme is the Ring, made by primeval forces that decide the safety or destruction of the World. For years it was the possession of the creature Gollum, but when the Ring falls into the hand of the Hobbits the evil forces awake and the struggle for the Ring commences. There is but one solution to save the world from disaster: the Ring must be destroyed by the fire in which it was forged: Mount Doom in the heart of Mordor, the country of the evil lord Sauron. It is the Hobbit Frodo who is assigned to carry out this task, and to assist him a company, the Fellowship of the Ring, is formed under leadership of Gandalf, the wizard, which includes the Hobbits Sam, Peregrin and Merin, the Dwarf Gimli, the Elf Legolas, Boromir and Aragorn, the later King. The Companions are secretly followed by Gollum, who does not shun any means, however perfidious, to recover his priceless Ring. However, the Companions soon fall apart, after many pernicious adventures and a surprising dénouement Frodo and Sam can at last return to their familiar home, The Shire.
I) GANDALF (The Wizard)
The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motif which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful horse “Shadowfax”.
II) LOTHLORIEN (The Elvenwood)
The second movement is an impression of Lothlórien, the elvenwood with its beautiful trees, plants, exotic birds, expressed through woodwind solo’s. The meeting of the Hobbit Frodo with the Lady Galadriel is embodied in a charming Allegretto; in the Mirror of Galadriel, a silver basin in the wood, Frodo glimpses three visions, the last of which, a large ominous Eye, greatly upsets him.
III) GOLLUM (Sméagol)
The third movement describes the monstrous creature Gollum, a slimy, shy being represented by the soprano saxophone. It mumbles and talks to itself, hisses and lisps, whines and snickers, is alternately pitiful and malicious, is continually fleeing and looking for his cherished treasure, the Ring.
IV) JOURNEY IN THE DARK
The fourth movement describes the laborious journey of the Fellowship of the Ring, headed by the wizard Gandalf, through the dark tunnels of the Mines of Moria. The slow walking cadenza and the fear are clearly audible in the monotonous rhythm of the low brass, piano and percussion. After a wild pursuit by hostile creatures, the Orks, Gandalf is engaged in battle with a monster, the Balrog, and crashes from the subterranean bridge of Khazad-Dum in a fathomless abyss. To the melancholy tones of a Marcia funebre, the bewildered Companions trudge on, looking for the only way out of the Mines, the East Gate of Moria.
V) THE HOBBITS
The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance; the hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant note, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter “ The Grey Havens” in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.
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