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YORCKSCHER MARCH and GESCHWINDMARSCH by Hindemith

https://www.youtube.com/watch?v=Q0oA9dSYai4

In 2019 and 2020, the United States Navy Concert Band recorded landmark works of composer Paul Hindemith. Here they showcase Beethoven's Yorchscher Marsch followed by Hindemith's paraphrase of that work, Geschwindmarsch. The two pieces were composed nearly 150 years apart with Hindemith using the standard instrumention of an orchestral wind section for the composition.

BUNDESLIED for wind with chorus

Beethoven’s last work was in fact for wind with chorus, a Drinking Song. Bundeslied op 122.

https://www.youtube.com/watch?v=iJGn17SN-_I

ARTICLE ON BEETHOVEN’S WIND MUSIC

The article on my website about Beethoven’s chamber works for wind can be found by browsing on.

http://www.timreynish.com/repertoire/composers/beethoven.php

There are three contemporary works based on themes from Beethoven works which I think are well worth considering: x

SHADOWS by MARCO PUTZ

Based on second movement of Beethoven 7th Symphony

https://www.youtube.com/watch?v=Pg2hsMAVnsU

Bläserphilharmonie Aachen

SHADOWS, for Wind Band (2018) Marco Pütz

SCHATTENGÄNGE was composed in early 2018 on behalf of the German Music Council.

The piece will be a compulsory piece both in 2020 at the German Orchestra Competition and in the 2019 pre-selection competitions.

Since the German Orchestra Competition takes place in the Beethoven year 2020 (250th birthday of the great composer), the composition should have a "strong connection to Beethoven" according to the client.

The second movement of Beethoven's Seventh Symphony served as a template for the composition. I would describe my work as a musical attempt on this famous symphony movement. The musical spectrum ranges from quotations to thematic / harmonic alienations (the shadows in which I move) to a few freely composed additions.

EXTREME BEETHOVEN by JOHANN DE MEIJ

18 minutes, difficulty VI, published by AmstelMusic/De Haske https://www.youtube.com/watch?v=YDLzt7ImmQw

Johann writes:

Extreme Beethoven is based on a similar concept as its illustrious predecessor, Extreme Makeover. A well-known classical theme is first presented in its original form, and then subtle and surprising shifts start to creep in. Various other Beethovenian motifs also make their appearance.

It is as if listeners can cast a glance into the genius brain of the master. Inside, a multitude of ideas and motifs tumble over each other. Some are dreamlike and exquisite, others nightmarish, frightening, and obstinately repetitive. The nine symphonies provide the majority of the material for Extreme Beethoven, but themes from the Egmont Overture, theMoonlight Sonata, Für Elise, and theTurkish March have also been woven into the patchwork of quotations and references.

Undoubtedly, purists and musicologists will scratch their heads on hearing this music. Please understand that the piece springs from intense admiration and respect for one of the greatest composers of all times. Above all, Extreme Beethoven is an ode to the greatness of Ludwig van Beethoven.

SYMPHONY NO 1 IN C by ADAM GORB

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, double bass.

https://www.youtube.com/watch?v=K_eU6md1txQ

Adam writes: For most composers the prospect of writing their first symphony is a daunting one. The thought of conceiving a large-scale work following the example of one of the great traditions in western music offers a challenge that many put off indefinitely, and others never attempt. I have ignored this colossal weight of expectancy and written a party piece, which, I think is appropriate as it was written for a fortieth birthday party. The mood is light and effervescent, appropriate for an accompaniment to champagne and strawberries on a summer evening. The structural and thematic model of the piece is that of a very famous Symphony no. 1 in C by a certain L. van Beethoven. Towards the end of the fourth and final movement of this fifteen-minute work there are quotations from other famous symphonies in C. Your answers, on a postcard please, to…

RECENT PREMIERES

For solo saxophone with wind ensemble in three antiphonal groups.

Duration 14

Commissioned by the Canterbury Festival 2019 and written for The Frisian Symphonic Wind Orchestra and Jess Gillam.

First Performance 26.10.2019, Canterbury Festival, Canterbury Cathedral, Kent, UK: Jess Gillam/Frisian Symphonic Wind Orchestra/John Harle

Availability Score and parts for hire

The Keys of Canterbury is based loosely on a work by Gabrielli (1554-1612), which was the first piece of music to call for passages played either quietly or loudly. It was also spatial, requiring two quartets of brass instruments to be separated by some distance. John’s new work reflects these qualities, capitalising on the cathedral setting and the specific forces of the FSWO in a triumph of tonality over dissonance.

THE PATH TO HEAVEN: A DESCENT by ADAM GORB

(world première of new version)

Adam Gorb's Suite for wind ensemble, drawn from his opera for singers and wind ensemble The Path to Heaven, was premiered at 13.15 at the Royal Northern College of Music, Manchester UK, on Thursday 16th January.

Excerpt from opera below

https://www.youtube.com/watch?v=YheAtVs_wxM

PYROTECHNICS: CONCERTO FOR TRUMPET by KEVIN DAY

WORLD PREMIERE at the 2020 TMEA convention; Texas Christian University Wind Symphony (Bobby Francis, conductor), featuring soloist Jens Lindemann

`FLEUR EN PAPIER DORÉ’ by NIGEL CLARKE

WORK PREMIERE at the 2019 Midwest Band and Orchestra Clinic, Chicago 20th December by the Grand Symphonic Winds (GSW) under the baton of Professor Matthew J. George. La Fleur en Papier Doré was commissioned by HAFABRA Music and dedicated to Louis MARTINUS.

Louis MARTINUS with the composer on the morning of the premiere at the Midwest Clinic.

I have described my musical offering as a `Surrealist Fantasy’. The work is written in two distinct sections named after Magritte paintings: I. La Lampe Philosophique (The Philosopher’s Lamp) II. L’Echelle de Feu (The Ladder of Fire). Both are intended to conjure up the no doubt thought-provoking conversations and debates that must have taken place amongst all those eminent artists, writers and poets as they propped up the bar.

SCORE OF THE MONTH

INVOCACION by Luis Serrano Alarcon

https://www.youtube.com/watch?v=CMrfLXd_-hk

With piano solo by Albeniz and Ballet

https://www.youtube.com/watch?v=Yi8M_wADhUU

Just with Luis Serrano Alarcon’s fine score

This piece was born with the intention of transforming an existing music work. In this case, it treats of the piano piece El Puerto, second number of the Suite Iberia by Isaac Albéniz, which the composer himself performed in his youth. From the perspective of the composer, the action of revisiting shows, on the one hand, the influence of his own experiences and memories and, on the other, challenges him to be conscious and to evaluate his own musical evolution and maturity in the timeline.

As a play on words, the title Invocación (Invocation) resembles and contrasts with Evocación at the same time (Evocación, evocation, is the title of the first piece of the Suite Iberia). While evoking means remembering in a suddenly way or motivated by something external, invoking is a request, thus denotes intention. That is the reason why Albéniz’s original music (supported by the lightness of a guajira) is transformed into a faster tempo and a more rhythmic character, which brings it closer to the personality of a ritual dance.

ESSENTIAL CATALOGUE

For anyone interested in British Music

As well as fine arrangements of works by Vaughan Williams and William Walton, there is a host of choral music by David Willcocks and John Rutter, light music by Phillip Lane and Gareth Glyn, and the major original scores by John Gardner, English Dance Suite. Essential browsing when planning your Christmas concert, the catalogue includes Noble’s superb arrangement of A Carol Symphony by Victor Hely-Hutchinson. Listen to each work, view the scores and browse through www.bandmusicpdf.net

for a treasure trove of new discoveries.

M.B.E.

On February 5th I was invested with the Honour of MBE, by Prince Charles, and so I am a Member of the British Empire, for Service to Music.

In accepting this honour, I am extremely conscious of the enormous support I have had from my wife, family and the thousands of musicians of all ages who have played for me over the past 60 years – schoolchildren, students, amateurs and professionals including past and present staff and students of the Royal Northern College of Music.

‘I am also grateful to the administrators of the orchestras and ensembles that I have conducted and the dozens of composers who have written works for me.

‘It has been a wonderful voyage of discovery which has taken me on a global journey visiting many countries in Europe, North and South America, Australasia, the Middle East and the Far East. Many thanks to everybody who has helped me along the way, this recognition is as much for you and the music we play as it is for me.’

CONFERENCES IN 2021

Our next national conference will take place in Athens, GA, hosted by Cynthia Johnston Turner and her staff at the University of Georgia Hodgson School of Music Details on CBDNA website.

WASBE JULY 20 – 24 2021 PRAGUE

The participation of 15 symphonic wind bands is planned for the main concert programme. Interested symphonic wind bands from around the world may wish to contact the WASBE Board or the Local Organizing Committee at loc@wasbe2021.com and submit 2 recordings of their live performance not older than 1 year prior to the submission. Details on WASBE website