(Re)Connected

(Re)Connected

InstrumentationWind Band
Grade6
Duration15 minutes
PublisherJanssen Music
Demo Score→ Download
Complete score and set are not available before the premiere (medio 2021) has taken place by “Royal Military Band Johan Willem Friso” The Netherlands.

… is a musical adventure for concert band, commissioned by the “Royal Military Band Johan Willem Friso” (NL) and their chief-conductor Tijmen Botma.

Due to the Covid pandemic, there have been hardly live performances by orchestras around the world for (sometimes more than) a year. With this work an attempt is made to make renewed contact with the numerous concert audience. 

(Re)Connected is therefore a work in which famous melodies of grandmasters from the past are connected in a special way and in which a (renewed) interaction between musicians and the audience takes place.

The work opens with Toccata by Claudio Monteverdi from “Orfeo”. Subsequently, the 1st cello sonata by Johann Sebastian Bach takes a prominent place, with a quartet of musicians interacting with the material.

On the basis of the exhibited themes, a fugal structure develops in which new material is used from the Overture “Entführung aus dem Serail” and the final movement from “Die Kleine Nachtmusik” by Wolfgang Amadeus Mozart.

After this virtuoso intermezzo peace returns with the famous theme of the adagio from the 9th symphony (“from the new world”) by Anton Dvorak. From this develops a dramatic part based on main theme of Dvorak 9th.

After a brief recollection of Bach and the “(Re)Connected” motif, which is clearly discernible throughout the work, the finale begins based on the impressive theme “Ode to joy” from Ludwig van Beethoven’s 9th symphony.

An interactive musical adventure in which musicians and audience are “reunited” with the so beloved grandmasters from music history.


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


Requiem – Giuseppe Verdi

Requiem – Giuseppe Verdi

After Gioachino Rossini’s death in 1868, Giuseppe Verdi suggested that a number of Italian composers collaborate on a Requiem in Rossini’s honor. Unfortunately the project was abandoned by the organisation. But not much later, upon hearing of the death of the Italian writer and humanist Alessandro Manzoni, Giuseppe Verdi resolved to complete a Requiem, this time entirely of his own writing.

The ‘Messa da Requiem’ is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra. It is rarely performed in liturgy, but rather in concert form of around 85-90 minutes in length.

text: © Baton Music

Publisher: → Baton Music

Remount

Remount

InstrumentationWind Orchestra & Tenor Voice
Grade6
Duration15 minutes
PublisherJanssen Music
Demo Score→ Download
Set of score and parts are not available before Fall 2021.
Demo of the world-first performance by “Koninklijke Oude Harmonie” Eijsden (NL)
Jacques Claessens, conductor – Pascal Pittie, tenor

Remount is based on the eponymous story of James D. Newton, about the impressive experiences as a soldier during Word War 2.

Remount is an old cavalry term. The noun describes a “fresh horse”. The intransitive verb means “to mount again”. And mount again is the story as recalled by James D. Newton after all these years.

This work was commissioned by “Koninklijke Oude Harmonie van Eijsden (NL)” – for celebrating 75 years of liberation after World War 2 and it is dedicated to the heroes who liberated us.

The work consists of five parts:

  1. Yesterday, 1944 – ‘Move out!’
  2. Die graue Tagen und lange Nachten – Fall Campaign
  3. The Bulge – ‘Remount’
  4. Fiddlers’ Green – the cavalry poem
  5. The day after yesterday, 1945 – ‘Dismount’ – Liberty

→ Fiddlers’ Green (part 4) is based on the cavalry poem.

Fiddlers’ Green

Halfway down the trail to Hell,
In a shady meadow green
Are the Souls of all dead Troopers camped,
Near a good old-time canteen.
And this eternal resting place
Is known as Fiddlers’ Green.

Marching past, straight through to Hell
The Infantry are seen
Accompanied by the Engineers, Artillery and Marines,
For none but the shades of Cavalrymen
Dismount at Fiddler’s Green.

Though some go curving down the trail 
To seek a warmer scene.
No Trooper ever gets to Hell
Ere he’s emptied his canteen.

And so rides back to drink again
With friends at Fiddlers’ Green.


The Planets – Gustav Holst

The Planets – Gustav Holst

‘The Planets’ by English composer Gustav Holst is a seven-movement orchestral suite in which each movement is named after a planet of the Solar System and its corresponding astrological character.

The orchestration is very imaginative and colourful, showing the influence of such contemporary composers as Igor Stravinsky and Arnold Schoenberg, as well as such late Russian romantics as Nikolai Rimsky-Korsakov and Alexander Glazunov.

From its premiere to the present day, the suite has been enduringly popular, influential, widely performed and frequently recorded.

Publisher: → Baton Music

© explanation text: baton music 

‘t Duvelsklökske – the Devils Bell

‘t Duvelsklökske – the Devils Bell

Instrumentation:

Grade:

Duration:

Publisher:

Demo score:

wind orchestra

6

10 minutes

Janssen Music

Live recording by “Windband Semper Unitas Sambeek (NL)” – Geert Mooren, conductor


‘De braove pastoor hâ vergeete, zien klukske te zeegnen – een pienlike zoak.’

The good priest forgot to bless the church bell, a painful matter.’

The devil heard about it and on Christmas Eve, the clock suddenly began to ring hellish. The priest chased the devil. But he took the clock. He buried the clock in the swamp. And still you can hear the bell in Sambeek during the Christmas night.



Duvelsklökske (Limburgian dialect)

D’r was ens in Sambek unne brave pastoor, die heuide zien schupkes vol iever. Die bouwde un moi kerkske, en prekte, hoe dukker hoe liever. En hoog in den toore dor hing ie un klok, die klepte ovver wei en akker, as ‘smerges de kuster an ut hennepzeel trok, heel Sambek ja riep hij dan wakker. 

Ma iets toch -mok zegge- was nie in den haok. Den brave pastoor haj vergeete zien klokske te zeegne. Un pienlijke zaok, die um zwaor op ut hart het gezeete. ‘t Was kerstnaacht toen ‘t wonder geval is geschied. ‘t Was wiendstil rondum ‘t haontje, de sterkes lachten zo hoog enzo wied’t was kerstnaacht en hel scheen ‘t maontje. 

Ma heur, dor op ens in ‘t hart van de naacht, begint ‘t vervaorlijk te wejje. De sturmwiend huult woest en mit raozende kracht, en wild got ‘t haontje ant drejje. Och, hoe de pestoor uut ziene sluumer verschrok! Hoe ie zien hart vuulde ontstelle. Nog gekker, dor gut in de tooren de klok an ‘t luie,an ‘t kleppe, an ‘t belle! 

Pestoor loert dur ‘t venster, hoe bonst um ‘t hart! En raoi us, wa zien dor zien ooge? D’n duvel, as ‘t roet van de ketel zo zwart, kumt hoog um den tooren gevlogen. Twee oogen as vuur kieke gluurend int rond, zien start lot ie kronkele en krulle. ‘n Aokelig geschries klinkt zo hels uut zien mond, as of de hel ging an’t brulle. Dan kruupt ie dur ‘t galmgat en griept in ziene bek, ut klokske en vliegt er mit hene. Hej draogt ovver de akkers hin op ziene nek, en toen is ie spoorloos verdweene.

D’r lag in ‘t Sambeks veld een moeras, dor wonde roeke en raave, De Lins hiette ut en begroeid was ut mit gras, dor hettie ut klokske begraave. En iedere Kerstnaacht op slag van 12 uur, al raoze ok sturmigge buujje, Toch kumt er den duuvel mit ooge van vuur, ut Sambekse klokske wer luie.

The Devils Bell

There was a good priest in Sambeek, herding his sheep zealously. He build a beautiful church and preached to his hearts content. And high in the tower he hang a bell, ringing over meadows and fields. As the sacristan pulled the rope every morning, Sambeek was called awake.

But something was not quite right. The good priest forgot to bless the bell. A painful matter, pressing his heart. It was on Christmas eve when it happened. There was no wind, lot of stars laughing high and far and the moon shone bright.

But suddenly, in the middle of the night, the wind starts to blow dangerously. The wind roars fierce and with raging power. The cock on the tower turns wilder and wilder. The pastor is shocked, his heart is running wild. And even crazier, the bell in the tower starts to ring faster and faster.

The pastor looks outside, with pounding heart. And guess what his eyes see. The Devil, as black as soot, flying high around the tower. Two eyes like fire, peeking around, and a tail with twists and curls. A horrible screeching sounds like the roaring hell from his mouth. He crawled through the belfry and engages with its beak the bell and flies away with it. Over the fields around and disappeared.

In Sambeek, there was a swamp. There lived rooks and ravens. The Lins, its called, full of grass. There he has buried the bell. And every Christmas eve at 12 o’clock. Even as the weather is awful. And yet, the Devil with eyes of fire, rings the Church bell of Sambeek. 


Hamlet – Tschaikowsky

Hamlet – Tschaikowsky

The idea of a ‘Hamlet overture’ had first occurred to Tschaikowsky in 1876. However, by 1888 he had altered these plans when he was asked to write incidental music for a production of Shakespeare’s play. The planned performance was cancelled, but Tschaikowsky decided to finish what he had started, in the form of a concert overture.

The work adopts the same scheme he used in his other Shakespeare pieces, the fantasy-overture ‘Romeo and Juliet’ (1869) and the symphonic fantasy ‘The Tempest’ (1873), in using certain characteristics or emotional situations within the play.

Publisher: → Baton Music

text: © Baton Music