Die schweigsame Frau – Richard Strauss

Die schweigsame Frau – Richard Strauss

‘Die schweigsame Frau’ (The Silent Woman), is an opera in three acts by Richard Strauss to a libretto by Stefan Zweig. Strauss gave the overture the subtitle ‘potpourri’. The term denotes a medley of popular nineteenth-century melodies, ones that brass and coffee-house bands would have typically performed in Strauss’s day. Nevertheless, Strauss’s overture has little in common really with these; his motifs are brief fragments of melodies, and are often juxtaposed in a masterfully elaborated polyphonic fabric.

Publisher: → Baton Music

explanation text: © Baton Music


Der Bürger als Edelmann – Richard Strauss

Der Bürger als Edelmann – Richard Strauss

‘Der Bürger als Edelmann’ is the German title of a play by Molière and an orchestral suite by Richard Strauss. The original French play is called ‘Le bourgeois gentilhomme’ and is about a wealthy merchant who would like to become a nobleman. The play was first performed in 1670 with music by Jean-Baptiste Lully. Strauss composed his orchestral suite in 1919 based on the music he had written between 1911 and 1917 for an adaptation of the piece by Hugo von Hofmannsthal. The suite consists of nine movements in which Strauss used some of Lully’s themes, but gave them his own romantic twist. 

Publisher: → Baton Music

explanation text: © Baton Music


Turandot for Fanfare – Giacomo Puccini

Turandot for Fanfare – Giacomo Puccini

InstrumentationFanfare Band
Grade6
Duration12 minutes
PublisherJanssen Music
Demo Score→ Download

When Puccini’s opera ‘Turandot’ was heard for the first time in April 1926, its composer had been dead for almost a year and a half. Turandot is considered as his best work: Puccini’s mastery of orchestral sound reaches its pinnacle: this is a ripe, opulent, fin de siècle, score, in which deep washes of colour are applied to a profusion of melodic ideas. 

In this arrangement I did use the orchestral material from the opera to make a suite for Fanfare Band.



Le Penseur – (the Thinker)

Le Penseur – (the Thinker)

InstrumentationWind Band
Grade6
Duration13 minutes
PublisherJanssen Music
Demo Score→ Download

Le Penseur (Full Midi)

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When The Thinker was conceived in its original size (approx. 70 cm) in 1880 as the crowning achievement of The Gates of Hell, seated on the tympanum, it was given the title The Poet. He represented Dante, author of the Divine Comedy who had inspired The Gates, bent over to observe the circles of hell, meditating on his work. The Thinker was therefore initially both a being with a tortured body, almost a damned soul, and a free-thinking man, determined to transcend his suffering through poetry. The pose of this figure owes much to Carpeaux’s Ugolino (1861) and to the seated portrait of Lorenzo de’ Medici carved by Michelangelo (1526-31).

Remaining in place on the monumental Gates of Hell, The Thinker was exhibited individually in 1888, becoming an independent work. The colossal version, enlarged in 1904, proved even more popular: this sculpture of a man lost in thought, but whose powerful body suggests a great capacity for action, has become one of the most celebrated sculptures ever. There are numerous casts worldwide, including the one now in the gardens of the Musée Rodin, a gift to the City of Paris installed outside the Panthéon in 1906, and another in the gardens of Rodin’s house in Meudon, on the sculptor’s tomb and his wife.

A challenging composition for wind orchestra based on several “leidmotifs”, written from the perspective of the thinker, who ponders the different emotions and characters of the leitmotifs before coming to a conclusion, but with an open ending, because after all, the thoughts go on again…



Also sprach Zarathustra – Richard Strauss

Also sprach Zarathustra – Richard Strauss

‘Also sprach Zarathustra!’, (‘Thus Spoke Zarathustra’) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche’s philosophical novel ‘Thus Spoke Zarathustra!’. The composer conducted its first performance on 27 November 1896 in Frankfurt.

The piece is divided into nine sections played with only three definite pauses. Strauss named the sections after selected chapters of Nietzsche’s novel highlighting  major moments of the character Zarathustra’s philosophical journey in the novel. The general storylines and ideas in these chapters were the inspiration used to build the tone poem’s structure.


The initial fanfare (‘Sunrise’) became well known after its use in Stanley Kubrick’s 1968 film ‘2001: A Space Odyssey’  and was also often used as a portent of a significant event to come or regularly used for space-related scenes.

Publisher: → Baton Music

explanation text: © Baton Music


SKINES

SKINES

InstrumentationFanfare Band
Grade5-6
Duration15 minutes
PublisherJanssen Music
Demo Score→ Download

Skines (Full Midi)

Skines was commissioned by “Fanfare St. Caecilia Schinnen” (NL).

Skines is an old name for the village and the landscape around the Limburg village of Schinnen. It means to shine or glare.

In three merging parts, the musical story is told of a kestrel that, while praying (looking for prey), absorbs, undergoes, adapts and (triumphantly) survives all the appearances or brilliance (in both positive and negative sense) within the landscape.

The apparitions are a metaphor for elements, influences and/or sounds (without a concrete name) within the regions, which can be seen from the air and which have a major influence on the flora and fauna, as well as the people in the Limburg landscape.

The second part describes the kestrel (sung the soprano voice) the feeling these apparitions evoke in him. The text is a free translation (in German) of a short poem from “The Chinese Flute” by the Chinese writer Li-Tai-Po (701-762);

In dem Fremde

In fremdem Lande lag ich.
Weißen Glanz malte der Mond
vor meine Lagerstätte.

Ich hob das Haupt, Ich meinte erst,
es sei der Reif der Frühe,
was ich schimmern sah,
dann aber wußte ich:
der Mond, der Mond,
und neigte das Gesicht zur Erde hin.
Und meine Heimat winkte mir von fern.


Live recording during WMC 2022 – Fanfare St. Caecilia Schinnen (NL) – Theo Wolters, conductor – Claudia Couwenbergh, soprano


The Muses

The Muses

InstrumentationDouble Quintet
(+ Contrabass)
Grade6
Duration12 minutes
PublisherJanssen Music
Demo Score→ Download

This composition was commissioned by wind ensemble “Helicon” on the occasion of their 40th anniversary.

From the Heliconian Muses let us begin to sing,

Who hold the great and holy mount of Helicon,

And dance on soft feet about the deep-blue spring

And the altar of the almighty son of Cronos, and,

When they have washed their tender bodies in Permessus

Or in the Horse’s Spring or Olmeius,

Make their fair, lovely dances upon highest Helicon And move with vigorous feet.

From “Theogony” by Hesiod (± 715 BC)

In ancient Greek religion and mythology, the Muses are the inspirational goddesses of literature, science and the arts. Under the care of the god Apollo, they were considered the source of the knowledge embodied in the poetry, lyric songs and myths that were related orally for centuries in ancient Greek culture.


Full Midi Demo

The nine Muses

CalliopeThe beautiful voiceMuse of the heroic epic,
philosophy and rhetoric.
EratoThe lovableMuse of the hymn, the song and the lyricism.
EuterpeThe joyfulMuse of flute playing.
PolyhymniaThe rich in chantsMuse of rhetoric and sacred songs.
KleioThe proclaimingMuse of historiography.
MelpomeneThe singingMuse of song and tragedy.
UraniaThe heavenlyMuse of Astronomy.
TerpsichoreShe who loves to danceMuse of dance and lyrical poetry.
ThaleiaThe festive & floweringMuse of comedy.

Tod und Verklärung – Richard Strauss

Tod und Verklärung – Richard Strauss

Tod und Verklärung (Death and Transfiguration), Op. 24, is a tone poem for large orchestra by Richard Strauss.

Strauss began composition in the late summer of 1888 and completed the work on 18 November 1889.

The work is dedicated to the composer’s friend Friedrich Rosch. The music depicts the death of an artist. At Strauss’s request, this was described in a poem by the composer’s friend Alexander Ritter as an interpretation of ‘Tod und Verklärung’, after it was composed.

As the man lies dying, thoughts of his life pass through his head: his childhood innocence, the struggles of his manhood, the attainment of his worldly goals; and at the end, he receives the longed-for transfiguration ‘from the infinite reaches of heaven’.

Publisher: → Baton Music

explanation text: © Baton Music