Prelude, Opus 28, No. 4 - Frédéric Chopin

One of Frederic Chopin's best known works, Prelude, Op. 28, No. 4, presents emotion-packed performance opportunities for bands at all levels. This Ed Huckeby transcription for band provides an almost literal translation of Chopin's original work with tremendous musical challenges in both the interpretive and dynamic realms, providing the ensemble an opportunity to explore musical possibilities which might be less attainable in a more technical piece. The recognizable melodic and harmonic structures will make this piece a real "hit" with concert audiences and provides an opportunity to teach the musical styles of the greatest 19th century composer of piano music. Great music!

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Prelude, Siciliano, and Rhondo - Malcolm Arnold

Taken from Arnold's Little Suite for Brass, Op. 80, John Paynter's splendid arrangement retains the breezy, folk-like quality of the original. Solos highlight the siciliano while the technical brilliance of the rondo features the entire ensemble.

Prludes - Claude Debussy

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Preludio - Forsblad

A thematically derived work developed fugally, ascending to climactic moments, and then subsiding in melodious contrast. This serious contest oriented piece ends with an extended ostinato.

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Preludio all' atto I - Giuseppe Verdi

Ernani (1844), Giuseppe Verdi's fifth opera, is based on the homonymous tragedy by Victor Hugo. Verdi's success with Ernani, as well as Nabucco and I lombardi alla prima crociata, can be ascribed to two distinct ideas: the melodic idea and the patriotic idea. The melodic idea is very important to move and touch the audience, while the patriotic idea is the source of enthusiasm and emotions. Approximately ten years elapse between two similar stories: the one of the outlaw Ernani and the one of Manrico, the troubadour. In the prelude to Act I, in only three minutes, Verdi has succeeded in skillfully concentrating the main elements of the entiredrama. One can clearly observe the themes of love, oath, and death.

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Preludio all' atto II - Giuseppe Verdi

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.

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Preludio Sinfonico - Giacomo Puccini

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Preludio Ticino - Stephan Jaeggi

Preludium - Milan Baginsky

Premier - Losey