Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score and parts. Duration 9:25. G & M Brand Music Publishers #R10276. Published by G & M Brand Music Publishers (CN.R10276).
Wagner finished the first act of Tristan and Isolde on the last day of 1857 and two years later he finished the entire opera. Yet it was not until 1865, after various disasters had prevented the piece being performed, that it was heard in public and the sensational opening of the Prelude at a stroke created a different harmonic framework for late 19th century music and beyond.
Wagner finished the first act of Tristan and Isolde on the last day of 1857 and two years later he finished the entire opera. Yet it was not until 1865, after various disasters had prevented the piece being performed, that it was heard in public and the sensational opening of the Prelude at a stroke created a different harmonic framework for late 19th century music and beyond. Now, thanks to Geoffrey Brand's masterly arrangement, concert bands can experience Wagner's remarkable conception. Purists may argue that bands should prefer original works for the medium. But our musical understanding is not complete without reference points and who is to say that if we happen to play in a band not an orchestra we should not have the first-hand opportunity to experience these master works?
Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score and parts. Duration 9:25. G & M Brand Music Publishers #R10276. Published by G & M Brand Music Publishers (CN.R10276).
Wagner finished the first act of Tristan and Isolde on the last day of 1857 and two years later he finished the entire opera. Yet it was not until 1865, after various disasters had prevented the piece being performed, that it was heard in public and the sensational opening of the Prelude at a stroke created a different harmonic framework for late 19th century music and beyond.
Wagner finished the first act of Tristan and Isolde on the last day of 1857 and two years later he finished the entire opera. Yet it was not until 1865, after various disasters had prevented the piece being performed, that it was heard in public and the sensational opening of the Prelude at a stroke created a different harmonic framework for late 19th century music and beyond. Now, thanks to Geoffrey Brand's masterly arrangement, concert bands can experience Wagner's remarkable conception. Purists may argue that bands should prefer original works for the medium. But our musical understanding is not complete without reference points and who is to say that if we happen to play in a band not an orchestra we should not have the first-hand opportunity to experience these master works?
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