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Title	Remembrance  NEW!
Article no.	4123030
Category	Concert/wind/brass band
Subcategory	Concert music
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Country of publication	Belgium (be)
Publisher *	HAFABRA Music Louis Martinus
Publisher's article no. *	HFB 946
Year of publication	2025
Price	click here
Composer	Mashall, Christopher
Difficulty level	4+
Duration	8:00
Additional info/contents	Christopher Marshalls *Remembrance* (2024) ist ein achtminütiges Werk für Blasorchester, das dem Gedenken an John Endemann gewidmet ist. Marshall setzt musikalische Mittel wie Taktwechsel (4/4- und 9/8-Takt), Dynamik und das Tenuto-Zeichen ein, um die Idee der gleichzeitigen Existenz von Lebenden und Verstorbenen zu symbolisieren. Die durchkomponierte Form des Werkes spiegelt den assoziativen Charakter des Erinnerns wider. *Remembrance* zeigt, wie Musik abstrakte Konzepte wie Erinnerung hörbar macht, und bietet Dirigent:innen und Musiker:innen eine technische und inhaltliche Herausforderung. (© musicainfo.net)
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Programme notes *: Remembrance – Remembrance as a Musical Dimension in Christopher Marshall's Composition for Wind Orchestra Christopher Marshall's composition *Remembrance*, premiered in 2024, is a work for top-level wind orchestra dedicated to the memory of John Endemann (1938–2023). The approximately eight-minute piece was premiered by the Royal Symphonic Band of the Belgian Guides under the direction of Yves Segers and combines musical innovation with profound symbolic meaning. Marshall himself describes the idea that the living and the deceased inhabit two dimensions of the same world—a concept directly reflected in the musical structure and the means employed. • Musical realization of the theme of remembrance - Rhythm and time signature: Simultaneous existence of two worlds - In *Remembrance*, Marshall utilizes two central time signatures: the even 4/4 time signature and the odd 9/8 time signature. These time signatures only fleetingly overlap in the work, symbolizing the idea of ​​two parallel but rarely touching dimensions. The 4/4 time signature represents the familiar, earthly world of the living, while the 9/8 time signature represents an alien, transcendent sphere. The infrequent overlaps of these time signatures underscore Marshall's statement that the worlds of the living and the dead coexist, but only come into contact with each other in fleeting moments of remembrance or commemoration. - Dynamics: Emphasis rather than volume - The dynamic markings in *Remembrance* do not primarily serve to control volume, but rather to emphasize musical ideas and motifs. This underscores the symbolic function of dynamics: they draw attention to key musical figures that can be interpreted as fragments or images of memory. These figures emerge from the sonic tapestry, much like memories flash into consciousness, without their intensity correlating with physical volume. - Articulation: The tenuto sign as a symbol of presence - The tenuto sign, frequently used in *Remembrance*, has no temporal meaning here, but serves to moderately emphasize individual notes. This emphasis can be understood as the musical equivalent of conscious remembering: A note is not prolonged, but consciously perceived—just as a memory does not stretch time, but is present in consciousness. The tenuto signs thus mark moments of conscious reflection on the past. - Timbre and instrumentation - The instrumentation for wind band allows for a wide range of timbres, which Marshall employs deliberately to express emotional and atmospheric nuances of remembrance. Gentle, flowing passages in the woodwinds can be seen as a metaphor for the passage of time and transience, while powerful tutti sections symbolize the collective presence of memory. The timbres shift between warmth and detachment, reflecting the ambivalence of memory between proximity and distance. • Structure and Form: A Musical Process of Remembrance *Remembrance* is conceived as a through-composed work that does not adhere to traditional forms but rather follows an organic, associative course. This structure reflects the process of remembering, which is rarely linear but often fragmentary and disjointed. The composition begins with a quiet, almost meditative introduction that gradually develops into complex, polyphonic sections. This development can be interpreted as a musical representation of the transition from individual to collective memory. The fleeting overlaps of time signatures mark key moments in which memory is experienced with particular intensity. These moments are not only rhythmically emphasized, but also sonically and dynamically, thus forming the emotional high points of the work. • Music as a Medium of Remembrance Christopher Marshall's *Remembrance* is a striking example of how music can translate abstract concepts like memory and remembrance into concrete soundscapes. Through the use of time signature changes, dynamics, articulation, and timbre, Marshall succeeds in making the idea of ​​the simultaneous existence of the living and the deceased musically tangible. The work invites listeners to embark on a journey through the dimensions of memory—a journey that is both personal and universal. • For conductors, music teachers, and active musicians, Remembrance offers not only a technical challenge but also a profound exploration of the possibilities of music as a medium of remembrance. The composition demonstrates how musical means can be used purposefully to make abstract ideas audible and tangible. • Text: © musicainfo.net (KI) Quellen/Sources: HaFaBra Music: Remembrance

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	Format
	Remembrance (concert/wind band), full score and parts
	Remembrance (concert/wind band), full score
	Cheval de feu, audio CD

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