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Concordia

Concordia

This unusual concert work, commissioned by the concert band ?Harmonie Concorde? from Sanem in Luxembourg, is built on two basic ideas: the evolution of the economic and social context of this Luxembourg city with its strong mining industry and the European concept, which is clearly present in this very small but prosperous country with its many European institutes. This is musically expressed in a few quotes from the European hymn Ode to Joy, the closing of Beethoven?s Ninth Symphony and from the Te Deum by Charpentier ? widely known as the signature tune for Eurovision broadcasts. A work of true unity.

SEK 1971.00
1

Concordia

Concordia

This unusual concert work, commissioned by the concert band ?Harmonie Concorde? from Sanem in Luxembourg, is built on two basic ideas: the evolution of the economic and social context of this Luxembourg city with its strong mining industry and the European concept, which is clearly present in this very small but prosperous country with its many European institutes. This is musically expressed in a few quotes from the European hymn Ode to Joy, the closing of Beethoven?s Ninth Symphony and from the Te Deum by Charpentier ? widely known as the signature tune for Eurovision broadcasts. A work of true unity.

SEK 335.00
1

Concordia

Concordia

This unusual concert work, commissioned by the concert band ?Harmonie Concorde? from Sanem in Luxembourg, is built on two basic ideas: the evolution of the economic and social context of this Luxembourg city with its strong mining industry and the European concept, which is clearly present in this very small but prosperous country with its many European institutes. This is musically expressed in a few quotes from the European hymn Ode to Joy, the closing of Beethoven?s Ninth Symphony and from the Te Deum by Charpentier ? widely known as the signature tune for Eurovision broadcasts. A work of true unity.

SEK 1971.00
1

Stepstones

Stepstones

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!

SEK 414.00
1

Lorraine : Tone Poem for Band

Lorraine : Tone Poem for Band

This moving symphonic poem is about the French region of Lorraine. Since the time of the Roman Empire, Lorraine has been ruled by either Germany or France with wars redrawing national boundaries many times over the years. While its history has been bloody, folk music from the region breaks up the tension in the piece and offers many uplifting moments. An optimistic conclusion features a mixture of music from the three countries Lorraine sits between: Luxembourg, Germany and France.

SEK 1852.00
1

Lorraine : Tone Poem for Band

Lorraine : Tone Poem for Band

This moving symphonic poem is about the French region of Lorraine. Since the time of the Roman Empire, Lorraine has been ruled by either Germany or France with wars redrawing national boundaries many times over the years. While its history has been bloody, folk music from the region breaks up the tension in the piece and offers many uplifting moments. An optimistic conclusion features a mixture of music from the three countries Lorraine sits between: Luxembourg, Germany and France.

SEK 484.00
1

Stepstones

Stepstones

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!

SEK 1921.00
1

Arrows of Lightning

Arrows of Lightning

Arrows of Lightning is a work in four movements by the Luxembourg composer Marco Pütz. American Indian songs and poems, which includes a song that translates as Arrows of Lightning, served as the inspiration for this composition.In this song, the arrows were charmed by means of singing and dancing so that they would go faster - as fast as lightning. The scoring enables this piece to be performed by a band without a full contingent of players. A fantasticwild-west adventure for your band. Dur: 10:10 (Grade 2-1/2)

SEK 1455.00
1

Five Open-ended Pieces : for Low Brass Ensemble

Five Open-ended Pieces : for Low Brass Ensemble

Five Open-ended Pieces was commissioned in 2010 by the Luxembourg Tuba Consortium and received its world première with this ensemble as well. The work consists of five relatively short movements that, although they each sound very different, do have one thing in common: they each contain a great deal of subtle irony that seems to match very well with the low range of these rather large instruments. The first movement (Warm up) contains many odd effects, such as kissing, humming, or hissing into the mouthpiece, hitting the mouthpiece with the hand, making clicking sounds with the tongue, clapping… even though the piece itself is written in a rather traditionalform. As the title indicates, the second movement (Tango) is, a rousing tango. Short 7/8 bursts interrupt the Tango from time to time, giving it a rather unsettled feel. Not only that, but the musicians seem to be out of breath by the end of the movement…The third movement (Meditation) lets the first euphonium sparkle and shine while the other instruments provide a smooth accompaniment. The fourth movement (Waltz) utilizes all of the ensemble’s distinct timbres and ends on a rather non-committal chord that just doesn’t quite want to fall into place. The finale is a majestic march. Several interspersed 3/8 bars help keep the movement marching along. Ample virtuosity and the sudden appearance of a dominating bass theme make for an exciting sound that leaves only one question unanswered: was this really the end?Five Open-ended Pieces is dedicated to all the members of the Luxembourg Tuba Consortium in the spirit of music and friendship.News: Selected as a FINALIST in the 2012 ITEA Composition Contest (USA)

SEK 484.00
1

Solemnitas

Solemnitas

This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard (the present conductor), who each have been conducting theensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the namesJean-Paul and Gérard Frisch (in which h is considered b as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful andlighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future.

SEK 1396.00
1

Solemnitas

Solemnitas

This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard (the present conductor), who each have been conducting theensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the namesJean-Paul and Gérard Frisch (in which h is considered b as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful andlighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future.

SEK 345.00
1

1834 : Machera Impressions

1834 : Machera Impressions

The twofold title of this concert work is directly connected with the band who commissioned it. The ‘Harmonie Municipale Grevenmacher’ from the town of the same name, by the river Moselle in the Grand Duchy of Luxembourg was founded in the year1834. The name Machera is derived from the word machara, which in turn originated from maceries (old wall). Later, Machera evolved into Machern, Grafenmachern, and finally Grevenmacher.In 2009, this music society the third oldest still in existence in the country celebrated its 175th anniversary. And after all these years the society still flourishes! The dynamic committee, led by Georges May, fully supports and inspires themusical leader of the band, Claude Weiland, as well as his 60-strong ensemble. This well-functioning team took the initiative to ask Jan Van der Roost to write an anniversary composition, inspired, on the one hand, by the rural character ofGrevenmacher and its surroundings (where the famous Moselle wine growing dominates the countryside), and on the other hand, by the dynamics, creativity and joie de vivre the band exudes. All of this resulted in a twofold work with alternating peaceand excitement, virtuous and melodic features, orchestral splendour and soberly orchestrated passages. The première, on 10 January 2010, was conducted by the composer himself at a successful gala concert which brought a fine year full of musicalfestivities to a close. The ‘Harmonie Municipale Grevenmacher’ faces the future with confidence, and will now prepare for its next milestone: the 200th anniversary!

SEK 2119.00
1

Ostinati

Ostinati

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

SEK 1178.00
1

Ostinati

Ostinati

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

SEK 4746.00
1