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Category: LIGHT CONCERT MUSIC Composer: P.I. Tchaikovsky Arranger: Derek Ashmore
The great Peter Ilich Tchaikowsky masterpiece Derek Ashmore puts the arrangement nearly all `under the fingers' This brilliant show piece is one of the top sellers in the catalogue Grade - Difficult Duration - 6'30'' with cut or 8'15'' full
Category: LIGHT CONCERT MUSIC Composer: P.I. Tchaikovsky Arranger: Philip Littlemore
Tchaikovsky began work on his Symphony No.4 in F minor in the early part of 1877, about the time he began his relationship with his long-term benefactor Nadezhda von Meck. The bulk of the composition was completed by the May of that year, although Tchaikovsky’s hastily arranged marriage in the following July to Antonina Miliukova put further work on hold for a while. He returned to working on the symphony in the latter half of the same year, agonising over the orchestration of the much meatier first movement, yet finding the following movements less taxing. The Finale itself erupts with a fortissimo explosion before giving way to the Russian folk song, The Little Birch Tree, which offers much of the thematic material for the movement, until the return of the 'fate' theme from the opening of the symphony itself, which acts as a distrurbing presence amongst the more carnival atmosphere of an otherwise buoyant Finale.
Category: LIGHT CONCERT MUSIC Composer: Tchaikovsky Arranger: William Gordon
Peter Ilyich Tchaikovsky wrote his fourth symphony in 1877 and 1878. It was first performed in the latter year conducted by Nikolai Rubenstein. Despite initial critical reaction, the symphony has become a staple of the orchestral repertoire and is one of the most frequently performed late 19th century symphonies. In the exciting finale, Tchaikovsky incorporates a famous Russian folk song, 'In the field stood a birch tree' as one of its themes.
Category: LIGHT CONCERT MUSIC Composer: P.I. Tchaikovsky Arranger: Philip Littlemore
Duration 7.40
Tchaikovsky composed his fifth symphony in the summer of 1888. He suggested that the opening-and recurrent-theme of the symphony represented "a complete resignation before Fate." The finale begins with a slow introduction of the 'fate' theme which segues into an Allegro Vivace of drive and energy, during which a majestic version of the fate theme periodically emerges. Finally, after a notorious "false" ending, the music courses ahead to a dramatic climax.
Category: LIGHT CONCERT MUSIC Composer: Gustav Mahler Arranger: Christian Jenkins
This great choral symphony (known as the 'Symphony of a Thousand' due to the vast forces required to perform it) is divided into two unequal parts, the first a setting of the ninth-century Whitsuntide hymn Veni Creator Spiritus, the second of the closing scene of Part II of Goethe's Faust. This skilful arrangement from the talented young welshman, Christian Jenkins, is of the final chorus, Alles Vergangliche, music that comprises roughly the last five minutes of the Symphony. It begins with Mystic Chorus, drawing mankind towards heaven. This builds in intensity to a triumphant instrumental coda, an affirmation of faith in both God and man.
Categories: LIGHT CONCERT MUSIC, Howard Snell Music Composer: Richard Wagner Arranger: Howard Snell
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Authentic Wagner ceremonial and power is presented here, in bringing the first Act of Lohengrin to a close. This excerpt can be used as a prelude to Procession to the Minster (from Act 2) or as a companion to the Wedding March as heard in Act 3.
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The recording is 20 SUPREME YEARS on Bocchino BOCC106
Category: LIGHT CONCERT MUSIC Composer: Giacomo Puccini Arranger: Philip Harper
Level of difficulty 1st. section and above. Duration 5.00
The spectacular Te Deum from the Finale to Act 1 of Tosca begins quietly with the tolling bell as worshipers gather for mass. The euphonium plays the part of the villainous scarpia as the music gathers strength. Finally the dooors of the church are thrown open, and the glorious Te Deum fills the hallowed space. Featured on the CD CORY IN CONCERT Volume 5.
Category: LIGHT CONCERT MUSIC Composer: Charles Gounod Arranger: Philip Littlemore
Charles Gounod was given to extended bouts of professional lethargy, particularly when personal matters weighed heavily on his mind. So it was in 1869, when he struggled to meet the demands for the Paris revival of his opera Faust, written had been written some 10 years earlier. His original opera had met with both favourable reviews, including one from Berlioz, and a few harsh ones too—including a noteable one from Wagner. Despite some other early negative reviews, the opera grew in stature culminating in its Paris revival. As with French operatic tradition, a 15-minute ballet was inserted into Act V. However, the ballet music was almost not written—not by Gounod at least—as he was reluctant to put pen to paper. He asked the young Camille Saint-Saëns to pen something instead. Saint-Saëns agreed on the understanding that should Gounod write something suitable, he would replace it if he wished. According to Saint-Saëns he heard nothing more of it and never wrote a note! The ballet music appears in the Walpurgis Night revelries where legendary and heroic characters dance to music that is curiously uplifting and buoyant until the finale, also known as Phyné’s Dance, where ominous sounds of wild and wicked celebrations from the underworld can be heard. This arrangement of the finale is a fitting piece for either a concert finisher or an encore.
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