Lista delle Composizioni con ottoni e fiati

Beethoven, Ludwig van (1770 - 1827)

Biografia di Beethoven -
Biografia illustrata di Beethoven -
File Midi di Beethoven -

Berg, Alban (1885 - 1935)

Bernstein, Leonard

Bruckner, Anton (1824 - 1896)

Biografia di Bruckner -
Lista delle composizioni di Bruckner -

Bruno, Carlo

Chen, Yi (1953)

Daugherty, Michael (1954)

Dvorak, Antonin

Biografia di Dvorak -
DvorŠk Society -

Gabrieli, Giovanni

Biografia di Gabrieli -
Informazioni sulla vita e morte di Gabrieli -

Gounod, Charles (1818-1893)

Biografia completa di Gounod -

Grainger, Percy (1882-1961)

Percy Aldridge Grainger (c.1882-1961) was an Australian born composer and pianist. He studied music in Germany. In 1900, he began his career as a concert pianist. In 1907, Grainger was chosen by Grieg to appear as guest soloist in the premiere of Grieg's Concerto in A. His contributions to the wind repertoire are outstanding. He studied in Europe and experimented with many sounds of various instruments. He became great friends with Edvard Grieg, and other composers such as Cage, Varese and Bartok. He gained American citizenship in 1919, after his employment as an United States Army Bandsman during World War I. He was known for his interest in folk songs and melodies. Other works that he has written for wind band include: Lincolnshire Posy, Hill Songs No. 1, Children's March, Colonial Song, Ye Banks and Braes Oh Bonnie Doon and Australian Up-Country Tune to name a few. In Richard Franko Goldman's book, The Wind Band, he nominates the Hill Songs No. 1 & No. 2 as the first major works for the band in the 20th Century.

Grainger Society-
Grainger Catalogue -
Grainger Biography
Grainger's Otherside -

Hšndel, Georg Friedrich (1685 - 1759)

Handel's Biography -
Handel's Biography -
Handel Midi Files Site -

Hindemith, Paul (1895-1963)

Hindemith Biography -
Hindemith Essay -
Hindemith Repertoire -

Honegger, Arthur (1892-1955)

Honegger Biography -

Hummel, Johann Nepomuk (1778 - 1837)

Johann Nepomuk Hummel was born in Pressburg, Germany. Pressburg is now Bratislava, Slvakia. He was a German pianist and composer who was a student of Wolfgang Amadeus Mozart. He represented one of the two schools of piano performance style at the turn of the century. Hummel's style emphasized clarity of texture and fluency of technique. The other school, of which Beethoven was representative, emphasized tone, wide dynamic range and orchestral effects. He was employed as Konzertmeister by the Esterhazy family at Eisenstadt, where he composed the Octet in Eb. He later served as Kapellmeister at Stuttgart and Weimar.

Hummel's Biography -
Hummel's Geneology -

Ibert, Jacques (1890-1962)

Krommer, Franz - Vinzenz, Franz (nome tedesco) - Kramer, Frantisek (nome boemo) (1759-1831)

Franz Krommer (also known as Kramar) was born near Trebic, Bohemia on November 27, 1759. He moved to Vienna and the Hungarian Lands, where he played in groups for the nobility. He was concert master in the Bratislava group of Prince Grassalkovic. In 1795, upon the death of the prince, Krommer's life of service to the Prince ended. For a number of years, he earned his living giving lessons and composing prolifically. In 1815, Franz I of Austria conferred on him the office of Doorkeeper to the Emperor. In 1818, Kozeluch, the conductor and composer of the court's chamber ensembles died, and Krommer succeeded him. It was during this time as composer and conductor in the Prince's court in Vienna, that Kramar's style developed from the Vienna classics and popular Czech folk elements of the time. He composed 5 symphonies, 10 concertos (notable are the oboe and clarinet), much chamber music, and masses. Krommer died in Vienna on January 8, 1831.

Krommer Page -
Krommer Biography -
Krommer Works Available -

Kurka, Robert (1921-1937)

Robert Kurka was born in Cicero, Illinois and died of leukemia at the young age of thirty-five. He studied with Darius Milhaud and Otto Luening. He developed a distinctive style of his own, using a mixture of American jazz elements and European characteristics. Kurka developed an opera out of his Suite, shortly before his death. The opera was produced by the New York City Opera Company on April 23, 1958. Robert Kurka also composed a popular work entitled Second Symphony. Kurka was of Czech descent, which influenced his choice of Jaroslav Hasek, a great Czech novelist, as the source for his best known composition, Suite from the Good Soldier Schweik. Kurka lived in New York City for the majority of his life.

Mendelssohn-Bartholdy, Felix (1809-1847)

Mendelssohn Page -
Mendelssohn Biography -

Messiaen, Oliver (1908-1992)

Messiaen Page-

Milhaud, Darius (1892-1974)

Darius Milhaud was born in Aix-en-Provence in 1892, but absorbed a multitude of influences which extended far beyond his native land. His works reflect influences ranging from Baroque counterpoint to Latin American samba rhythms. He was as much at ease in the world of serialism as he was in popular dance music and jazz. Milhaud's talent was apparent from an early age, and he was sent to the Conservatoire de Musique in Paris, where his teachers included Dukas and Widor. Milhaud detested Wagner's music. When a young man wrote to him about Wagner's theories that all art "springs from suffering, unhappiness, and frustration," Milhaud wrote: "I am glad you decided to write me about your problem with Wagner's theories; here is my point of view, if you want it. I had a marvelously happy childhood. My wife is my companion, my collaborator; we are the best of friends, and this gives me great happiness. My son is a painter who works incessantly, and he is sweet and loving to his parents. Thus I can say that I've had a happy life, and if I compose, it's because I am in love with music and I wouldn't know how to do anything else . . . Your Wagner quote proves to me once again that he was an idiot." One early source of Milhaud’s inspiration was the "new music" sweeping the Americas and Europe, which would come to be known as jazz. In his autobiography, Notes Without Music, Milhaud described his first encounter with these radical sounds during a 1920 visit to a London nightclub. "The new music was extremely subtle in its use of timbre: the saxophone breaking in, squeezing out the juice of dreams, or the trumpet, dramatic or languorous by turns, the clarinet, frequently played in its upper register, the lyrical use of the trombone, glancing with its slide over quarter-tones in crescendos of volume and pitch, thus intensifying the feeling; and the whole, so various yet not disparate, held together by the piano and subtly punctuated by the complex rhythms of the percussion, a kind of inner beat, the vital pulse of the rhythmic life of the music. The constant use of syncopation in the melody was of such contrapuntal freedom that it gave the impression of unregulated improvisation, whereas in actual fact, it was elaborately rehearsed daily, down to the last detail. I had the idea of using these timbres and rhythms in a work of chamber music, but I first had to penetrate more deeply into the arcana of this new musical form, whose technique still baffled me." Darius Milhaud had a more pronounced reaction that occurred two years later during a visit to Harlem. "The music I heard was absolutely different from anything I had ever heard before and was a revelation to me. Its effect was so overwhelming ... that I could not tear myself away. In some of their shows, the singers were accompanied by a flute, a clarinet, two trumpets, a trombone, a complicated percussion section played by one man, a piano and a string quintet. More than ever I was resolved to use jazz for a chamber work." One of the composer’s greatest compositional opportunities came shortly thereafter when he was engaged to write a ballet based on the creation of the world as seen through African folklore. Milhaud retained an instrumentation identical to that of the Harlem bands which had so profoundly impacted him: the traditional string quartet’s viola was replaced by the more novel timbre (for 1923) of the alto saxophone. French horn also was added to the ensemble. The resulting score was simply entitled La Creation du monde and is today considered one of the most successful amalgams of jazz and classical music in the repertoire. Though the composer extracted a concert suite for piano and string quartet in 1926, it is in its original instrumentation that the ballet remains most popular.

Milhaud's Biography -

Mobberley, James (1954)

Mozart, Wolfgang Amadeus (1756 - 1791)

Mozart Page -
Mozart Biography -
Mozart Midi File Page -
Mozart's Music -

Orff, Carl (1895-1982)

Penderecki, Krzysztof (1933)

Penderecki's Biography -

Persichetti, Vincent (1915-1987)

Persichetti was born in Philadelphia in 1915. He began his musical career at the age of five, first studying piano, and then becoming proficient at organ, double bass, tuba, theory and composition. By the age of eleven, he was paying for his music education and helping to support himself by performing professionally as an accompanist, working as a radio staff pianist, orchestra member and church organist. Persichetti was a composer who used many different styles in his music. He would use aspects of atonaly, modality, polytonality and tonality in his works. He composed the Serenade No. 1 for Ten Wind Instruments at the very young age of fourteen.

Persichetti Bibliography -

Poulenc, Francis (1899-1963)

Rudy, Paul (1962)

Paul Rudy was born in 1962 in South Bend, Indiana. He studied trumpet and jazz at Bethel College (B.A. 1984), and composition at The University of Colorado, Boulder (M.M. 1992) and The University of Texas at Austin (D.M.A. 1997). In 1997, he traveled to New Zealand on a fellowship from the Fulbright Foundation. He also received fellowships from The University of Texas at Austin, and The University of Colorado, Boulder. Other honors include residencies at the Atlantic Center for the Arts and the Aspen Music Festival. Currently, Paul Rudy is Assistant Professor of Composition at the UMKC Conservatory of Music, where he also serves as Director of the Music Production and Computer Technology Center (MPACT).  In the summers, Rudy travels to the Aspen Music School where he has been on faculty since 1995, teaching in the Electronic Music Workshop and assisting the director of the Aspen Center for Composition Studies. In 1996, he launched the Amplified Music Performance Series (AMPS) to present electro-acoustic concerts to the Aspen Music Festival audience. In 1999, He began producing a radio show for Roaring Fork Public Radio called "The Virtual Concert Hall."  In 1994, Paul Rudy completed the Colorado Grand Slam after climbing all 54 of Colorado's 14,000 ft. peaks. His highest summit is Citlaltepetl (Pico de Orizaba) in central Mexico at 18,700 ft. (5,700 m.). He said, "his lifetime goal is to reach somewhere above 20,000 feet.

Paul Rudy's Web Page -

Scearce, Mark J.

Schubert, Franz (1797-1828)

The Franz Schubert Society -
Schubert Biography -
Schubert Institue-

Strauss, Richard (1864-1949)

Strauss Page -
Strauss Biography -

Stravinsky, Igor (1882-1971)

Stravinsky Biography -
Life and Works of Stravinsky -
Internet Public Library Page on Stravinsky -

Stokes, Eric (1930 - 1981)

Other Works of Stokes -

Varese, Edgard (1885-1965)

Vaughan-Williams, Ralph (1872-1958)

Ralph Vaughan-Williams Biography, Pictures and Links -

Weill, Kurt (1900-1950)

Tribute to Kurt Weill -
Synopsis of Theatrical Works -

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Wind Ensemble Music




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