WASBE Members are able to purchase the listed pieces for USD 20.00 $ each . Please provide all information requested. After the payment you are able to download the pdf files. Please contact the Executive Director when you have a concert date and place, so WASBE can promote the performance. If you have the chance to provide us with a video recording on youtube, we would like to share the link or (if we receive the video) could upload the best performances on our youtube Channel.
Please note that this exclusive offer will end in summer 2018.
Thank you all – in the name of the composers – for your support.
Enjoy the music!
Folksong of Midu
Composer: Li Chan
This composition is based on an old tune of Southwest of China.
Composer: Hung Ping Chang
Mulan Fantasie depicts the Chinese legend of Mulan, who took her injured father’s place to go to the battle field and eventually brought honor to her family. The piece is in the symphonic poem format of six sections: 1. Introduction and main theme; 2. The village; 3. The arrival of the recruitment; 4. The war; 5. Victory and Honor; 6. Return and Peace. Mulan Fantasie is strongly based on one of the essences of Chinese aesthetics, “flowing air”, which depicts deep emotion and the vivid atmosphere during the entire piece. In crafting the instrumental gestures of both western symphonic band and percussion writing, Mulan Fantasie reflects the collision of Eastern and Western elements – more specifically the velvety expressive sound and the abilities of “breath” of the symphonic band with those of the traditional Chinese percussion technique and orchestration. In addition to the traditional instruments, the organic element of the symbol of Chinese culture and Peking Opera is also arranged in the piece: sobbing tune, Gong and Drum as well as the color of martial arts are employed in the symphonic band writing and rhythmic gestures throughout Mulan Fantasie. For example, the third section opens with the ninth powerful strike of the Chinese Bass Drum, which stands for the recruitment from the emperor that is adapted from the symbol of ancient Chinese culture because the number nine stands for the emperor. The movement of flipping the paper reflects the Chinese character “kill.” Imbued with the history of this ancient Chinese legend, the aesthetics of calligraphy, air and blank, are also grandly arranged in the orchestra writing. The six sections are full of dynamic colors and rhythmic drive based on the strikingly lyrical line. By the blending of western symphonic band with Chinese culture and musical playing traditions, Mulan Fantasie presents the fusing of the East and West to depict the legendary female hero and also the reflection of the awakening in the human spirit.
Composer: Gregory Fritze
Composed for the US Army Band
The piece is in Sonata form with contrasting themes and time signature changes.
Suite do Vale
Composer: Renato Goulart
The Suite do Vale was based on 4 folk songs from the region of the “Jequitinhonha”, state of Minas Gerais, Brazil:
– Toque de Mastro (mast music): a festive theme that represents the opening or annunciation of religious festivals of the interior represented by rituals with flagpoles
– Dois Engenho (two mills): a typical representation of the sounds of cane mills moved by oxen
– Veizin Cansado (little old man): represents the calm and quiet life of the little old men who live in the small villages of Brazil
– Carvão Queimou (coal burned), representing the heat and danger of the workers with the handling of the coal kilns.
Composer: Nelson Jesus
This work is a Lamento for band based on the late Renaissance motet “Audivi Vocem Caelo” from the Portuguese composer Duarte Lobo (c.1565-1624).
Nelson Jesus writes : “In my experience as a band conductor and educator I have noticed that the educational repertoire is almost based on the chidren’s point of view and themes, however, there is a growing number of aldult based bands between grades 1 and 3 that need the same atention in repertoire. This work has that kind of environment but suits the younger bands either. For them, the title was changed from “Lamento” to “Wolf Tears”. Wolf is the english word for Lobo.”
This work is a set of variations on the first four notes of Lobo’s theme (E, A, C, B). At the beguining the players could listen the intervalls formed by these notes that will have a major roll in the development of those variations and for the construction of melodies. The first Tutti section uses a lots of passing notes and ressembles a rennaissance “way of orchestration”.
Near the end the “Chorale” is the first appearence of the complete motet theme, again with a strong counterpoint character. The musicians can learn about imitation, fugato and resonances. The work ends with a reflection between a minor harmony (evil) and a major melody (good). The four principal pitches appear like sounds from the skies.
Are those sounds the ones that Lobo eared from the sky? (Audivi Vocem Caelo – I heard a voice from heaven).