WINGERT-JONES PUBLICATIONS

German composer Woldemar Bargiel was the half-brother of Clara Schumann and composed a significant amount of chamber music. He was supported by fellow composers Robert Schumann and Johannes Brahms. His Adagio, opus 38 for cello and orchestra is an eloquently beautiful solo work and makes a very attractive solo feature for euphonium with wind accompaniment. This setting was premiered with euphonium soloist Misa Meade accompanied by the Loyola University Concert Band (New Orleans).

Julius Fucik was born in Prague, Bohemia in 1872 and died in Berlin, Prussia in 1913. A bassoonist and composer, he later became the most renowned bandmaster on the Continent. This masterful march creates a vivid display of musical imagery as it begins in 6/8 time depicting the majestic galloping rhythm of horses associated with the cavalry. The march then continues in alla breve meter featuring bold and profound counterlines in the baritone voices and gallant regimental trumpeting. A real march gem that shines with proud ceremonial splendor.

An accomplished composer and conductor in his day, Julius Fucik wrote more than 400 marches, polkas and waltzes. Even one hundred years after his death, the patriotic themes in his music remain popular in the Czech Republic as well as throughout Europe and the U.S. Fanfare Sounds represents the highest standards of the Austrian regimental march with its stylishly dignified tempo, crisp articulations, and, as an added feature, resplendent trumpeting fanfares that are brilliantly displayed throughout the piece.

An enigmatic and recognized work of the Impressionist period, this concert selection was originally scored for flute with orchestra. John Bourgeois' creative rescoring for soloist and wind ensemble has been performed by professional and military bands throughout the country.  It is a work par excellence for the accomplished flutist and an unforgettable feature in a live performance setting.

A classic grande marcia in the Italian style, The Florentiner is now available in an edition for modern concert bands. Conductors, musicians, scholars and audiences will enjoy this march in the first American edition that is faithful to the original Fucik manuscript.

John Philip Sousa is well known throughout the world for composing some of the most popular marches ever written. From Maine to Oregon is based on musical themes originally written for his operetta, "The Glass Blower," which was renamed "The American Maid." This new edition was created from the original parts as played by the Sousa Band performing under the direction of the "March King" himself.

Col. Bourgeois' knowledge of performance practice in the original Sousa band is seen throughout this fine march.  The regimental trumpets and drums should stand behind the band for the most authentic musical effect.  It is truly gallant!

Jacques Offenbach was a product of the Paris Conservatory, becoming a professional cellist. However, today he is best known as the composer of light opera, including "Ballet Parisien," "La Belle Helene" and "Orpheus in the Underworld." This galop is a spirited and lighthearted work containing the origins of what we know today as the Marines' Hymn. This scoring by John Bourgeois is sure to become a standard.

In commenting about this march, Sousa is reported to have said "(It's) addressed to no particular nation, but to all of America's friends abroad." As director of the U.S. Marine Band, Col. John R. Bourgeois has performed this march on numerous historic occasions such as the 100th anniversary of the dedication of the Statue of Liberty and the International Parade of the Tall Ships (1986), the Marine Band's first overseas appearances in Ireland (1986) and Norway (1989), and their historic tour of the former Soviet Union (1990).

This ragtime masterpiece was composed in 1907 and is named after the beautiful variegated southern flower. What makes this particular work stand out from other ragtime pieces is the oddity of its structure, rhythm, and melody, which could be the result of the collaboration of these two composers. The first two strains were written by Louis Chauvin, a brilliant young pianist from St. Louis, and the last two strains were composed by the master, Scott Joplin.  A truly unique and appealing ragtime work.  

This original work for military band was written by the great composer in honor of the young King, Ludwig II, who became Wagner's greatest patron. Col. Bourgeois' meticulously edited edition enables the modern concert band to play this masterwork as it was originally presented.  The brass section plays a prominent role, with separate parts for cornet, fluegelhorn and trumpet.

This is the best known of the many works written by E.V. "Honey Boy" Cupero during his successful career as a cornetist, band leader, music director, arranger, and composer. First published in 1914, it is a classic example of marches from this era, and it was very popular with American minstrels and circuses.

John Clifford Heed (1862-1908) was known as the "March Wizard," and has more than 60 published marches to his credit. In Storm and Sunshine was one of his earliest works, and it remains his most popular work to this day. It has all the ingredients for a great march, and this revised edition from Colonel Bourgeois provides a fresh approach to the long time favorite.

Best known for his marches, Davide delle Cese was an Italian band leader, composer and teacher who enjoyed a long and rich musical career. His march, Inglesina, is one of his most popular marches and is an international favorite. This accomplished edition is based on the original 1871 Italian edition and brings new excitement and freshness to a European classic.

William Paris Chambers (November 1, 1854 - November 13, 1913) was an American composer, cornet soloist and bandmaster who wrote several cornet solos and nearly 90 marches. His most famous marches are Chicago Tribune, The Boys of the Old Brigade, Hostrauser's, Northwind and Revelation. The King of Terror March was published by J.W. Pepper in 1882. Its title is thought to be inspired by a carnival or midway attraction. The march is fast and furious, with all the drama and ferocity that's reflected in its name. Although one of his earlier marches, King of Terror contains all of the characteristics of Chambers' famous bravura band writing.

Chadwick (1854-1931) taught harmony, composition, and orchestration at the New England Conservatory, and in 1897 he became the school's director. This unique march is from Chadwick's light operetta, Tabasco. (2:40)

A contemporary (and, some would say, rival) of Johann Strauss I in 19th-century Vienna, Joseph Lanner was, for a time, more popular and widely performed than his associate. After a much-publicized separation of the two musical giants, Lanner was appointed to the coveted post of Musik-Direktor of the Redoutensale in the Habsburg Imperial Palace. Lanner's ballet was written in September of 1841; this superb Bourgeois edition brings the work to the wind ensemble repertoire. It is an outstanding example of the Austrian march genre.

 

Composer Semeon Alexanderovich Chernetsky was born in 1881 and died in 1950. A trombonist and a composition student of Alexander Glazunov, he was also a prominent military bandmaster. He was named Director of the Band of the Soviet Army in 1932, and in 1935 he founded the Band of the Ministry of Defense. He composed over 70 marches including March of the Tankmen, which he wrote in 1946, as well as other works for band. The stately manner of this stirring march displays a profound sense of loyalty and national pride that is unmistakable.

This popular medley of marches by the "March King" has been a part of the repertoire of the U.S. Marine Band tour concerts for many years. Now available for the first time, bands everywhere can bring a touch of class and this great American musical tradition to their concerts and their audiences.  

One of the approximately 88 marches written in the late 19th and early 20th centuries by the gifted cornetist/band leader, this work is as exciting today as it was when it was new. (2:00)

Carl Teike was a German composer of military band music at the turn of the 20th century.  Old Comrades, perhaps his most recognized work, is presented in a fresh re-scoring of the original manuscript.  It was a programming favorite of the United States Marine Band under Col. Bourgeois masterful leadership.

As a gifted young composer, Jules Massenet (1842-1912) wrote several operas that were never produced or printed; but at the age of 25, he enjoyed his first opera production in Paris. Following that success he became a popular and successful part of the Paris music scene. In 1878, he was appointed professor of advanced composition at the Paris Conservatory, and it was while he was there that he composed his Parade Militaire for orchestra. This lively tune is full of life, energy and subtleties, with great style and elegance, and some sudden dynamic surprises.

Along with the movement to Impressionism during the latter part of the 19th century, the French were caught up in the popularity of American ragtime and early jazz.  Erik Satie's piano piece Le Piccadilly, composed in 1903, was his own tribute to the syncopated dancing rhythms and lively melodies that made the genre so appealing. This fine realization brings the best of the genre and the eccentricities of the composer to the capable wind ensemble.  A concert treat.

"Parsifal", written in 1882, was the final opera by composer Richard Wagner (1813-1883). The prelude is a miniature masterpiece consisting of only 116 measures. The form of the prelude is similar to that of the classical three-movement overture and consists of four musical motives: the mystical realm of the Holy Grail; the Grail itself in the Dresden Amen; Faith, represented by the brass chorale; and the Agony of Amfortas. This transcription by John R. Bourgeois faithfully adheres to Wagner's intent both in key relationships and orchestration.