‘Der Rosenkavalier’, Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It was first performed at the ‘Königliches Opernhaus’ in Dresden on 26 January 1911 and the opera became immediate and profound popular.
As one would expect of a commercial hit, the music was pressed into all manner of use through arrangements and transcriptions. Strauss produced the earliest orchestral extract himself in 1911, directly on the heels of the premiere; he titled it ‘Walzerfolge Rosenkavalier 3. Akt’ (‘Waltz Sequence from Rosenkavalier Act 3’) which in the end was entitled as ‘Walzerfolge No. 2’ (‘Waltz Sequence No. 2’).
In the summer of 1934 Rachmaninoff composed the ‘Rhapsody on a Theme of Paganini’ at his summer home, the Villa Senar in Switzerland.
It’s a concertante work written by for piano and orchestra, closely resembling a piano concerto in a single movement.
After a brief introduction, the first variation is played before the well known ‘Paganini theme’ and then followed by the other 23 variations.
The work is performed in one stretch without breaks but it can be divided into three sections. These correspond to the three movements of a concerto: up to variation 10 corresponds to the first movement, variations 11 to 18 are the equivalent of a slow movement, and the remaining variations make a finale.
“Revived” was commissioned by “Royal Military Wind Band Johan Willem Friso” (NL) – according to an idea of their chief conductor Major Tijmen Botma – and in cooperation with “WMC Kerkrade” on the occasion of the 50th anniversary of “Muziekcentrale Adams” in Thorn (NL).
The aim was to give the various orchestras around the world affected by the Covid19 pandemic new hope, élan and perspective in the form of a composition that could also be performed by smaller subensembles. In this way, despite the Covid19 restrictions, the orchestras can make music together again.
“Revived” can be performed separately by;
Flutes, oboe(s), bassoon(s), saxes & contrabass
Brass & percussion
Wind band (All ensemble versions combined)
Also, the overture is delivered simultaneously in two different levels of difficulty:
A short but vibrant overture that hopefully will give pleasure to many sub-ensembles and orchestras all over the world.
“Der Arme Poet” (painted 1839) in is the most popular painting by the German Painter Carl Spitzweg.
In 1839, Spitzweg was a beginning artist who in the 1830s lived for a long time on the top floor of a house in old Munich, from which he wrote in one of his letters: “The view is great, the roofs resemble a large mountain range, with the chimneys and attic windows like ruins and castles”.
The influence of the Biedermeier style is easily recognizable in the painting. The typical pursuit of a bourgeois bohemian existence is reflected in the various attributes. In combination with the poor environment the whole gives a parodical appearance.
The poems that were once thought to have eternal value are sacrificed to the stove as soon as they can provide some warmth.
Characteristic of the painting is the quill that holds the poet clamped between his teeth, indicating that he continues his work unrelentingly.
Above his bed you can see a hexameter scheme, which indicates the meter of verse. Next to his bed is a stack of classical books with inscriptions such as “Gradus ad Parnassum”, which represent the high ideals of the artist.
Between his fingers he seems to crush a flea, which expresses the banality of the situation.
The Hungarian-born composer and pianist Franz Liszt was strongly influenced by the music heard in his youth, particularly Hungarian folk music, with its unique gypsy scale, rhythmic spontaneity and direct, seductive expression.
‘Hungarian Rhapsody No. 2’, is the second in a set of 19 Hungarian rhapsodies Liszt composed but it is by far the most famous of the set. It was dedicated to Count László Teleki and first published as a piano solo in 1851.
Its immediate success and popularity on the concert stage led to an orchestrated version, arranged in 1857–1860 by the composer in collaboration with Franz Doppler.
For this transcription I used as well the Doppler version as the version by Müller-Berghaus.
Rembrandt’s Night Watch has already moved many people.
Whether it is the beautiful “clair-obscure” or simply the “moving” scene of Captain Frans Banninck Cocq and his men, the fact remains that the painting continues to attract you.
In this Night Watch Rhapsody I tried to translate the scene, as well as the many hues, as if the painting were being painted on the spot.
An important role is therefore reserved for the soloist on E-flat clarinet, who takes on the role of Rembrandt and, together with the orchestra – in which the orchestra does not merely take on the accompaniment – tries to bring the Night Watch to life.
This work was composed and dedicated to the E-flat clarinet soloist of the wind orchestra of the Royal Belgian Guides (Belgium), David van Maele
„Festmusik des LBO“ is a festive overture in which the new logo of the „LandesBlasOrchester Baden-Württemberg“ is explained in musical way in three parts without intermission.
The overture starts as a surprise, just walking into the beautiful land of Baden-Württemberg, a partial republic of Germany. „Movement and Rhythm“
The main theme a proud, passioned theme – its all about the people working at LBO – starts and flows into the second theme based on the typical opening of the song „Loblied der Badener“. The use of many different pitches and scales are a metaphor for „Highs and Lows“.
After this another folksong of Baden-Württemberg is integrated, the more lyric „Hohenzollernlied“. The use of both of these folk-themes are standing for „Name, Values and Home“.
In the second part both folksongs are used in the thematic material. In this part the music is build up into a passioned and majestic climax. All the „Emotions and Passion“ reach their maximum of musical perception.
In the third part all thematic material is re-used in a fugatic way finding their way, everything combining, into a virtuous coda – just as the new logo is doing into one picture.
Of course the title of the overture is referring to the jubilee of 40 years of this great orchestra: „LandesBlasOrchester Baden-Württemberg“
This piece was the winning composition of the composition contest “Logo in Sound” as held by the “LandesBlasorchester Baden-Württemberg” (2018)