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The Long Shadows of 2027

Helmut Schwaiger
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The Long Shadows of 2027

Many concert programs are also designed with anniversaries in mind. In this and upcoming newsletters, we want to introduce composers who have significantly influenced wind music and the wind ensemble scene in their home countries and beyond. All of them have an anniversary in 2027. Today, we begin with the Bohemian composer:

Pavel Staněk for his 100th Birthday: A Composer for Wind Orchestra

June 3, 2027, marks the 100th birthday of the Bohemian composer Pavel Staněk. Born in Prague in 1927, Staněk shaped the Czech wind orchestra tradition with his compositions and his work as a conductor. His work combines melodic lines, dance-like elements, and colorful instrumentation.

Staněk studied at the Prague Conservatory and initially worked as a choirmaster for a folklore ensemble. From 1954, he led the Music Corps of the Czechoslovak Ministry of Interior. Later, he conducted in Prague and, in 1963, took over the direction of the Radio Orchestra in Ostrava, a position he held until 1990. In addition, he made guest appearances with various orchestras and wind ensembles.

His well-known works for wind orchestra include the Moravian Suite, the Frýdlant Suite, and Songs from the East End. These pieces capture different facets of the Czech musical tradition. They are performed in concert programs alongside works by other Czech composers; for example, the Moravian Suite and Songs from the East End (Písničky z východního konce) were featured in the program of the Czech National Concert Wind Orchestra in 2026.

Even shorter works like My Country, Russian Waltz, and Burlesque and Cantabile demonstrate the stylistic breadth of his oeuvre. Melody is not the sole focus: Staněk utilizes the timbres of the wind orchestra, creating music that encompasses both dance-like movement and lyrical passages. His works thus offer conductors and ensembles diverse opportunities to shape sound, character, and expression.

His 100th birthday provides an occasion to rediscover Staněk’s compositions and consider their position in the wind orchestra repertoire. His music continues to be part of concert life, reminding us how closely compositional creation, conducting, and the development of a sound body can be intertwined.

Works for Wind Orchestra

Works for Ensembles

Works for Solo Instruments

IGEB Conference Book 2026 Documents Current Wind Music Research

Helmut Schwaiger
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IGEB Conference Book 2026 Documents Current Wind Music Research

The International Society for the Research and Promotion of Wind Music (IGEB) brings together researchers and professionals who deal with the history, practice, and cultural significance of wind music. Its conferences create space for exchange between musicology, performance practice, and organology. The newly published Conference Book 2026 records contributions from the 28th International Wind Music Conference in Bern.

IGEB as a Forum for Wind Music Research

Wind music is not only part of the repertoire of orchestras and ensembles but also a field of research with historical, social, and technical questions. IGEB is dedicated to the scientific research and promotion of this area. Its conferences and publications make research results accessible and stimulate professional exchange.

For conductors, musicologists, and active musicians, such publications offer an opportunity to learn about developments and historical contexts that can also influence the selection and classification of repertoire.

The 28th Conference in Bern

The conference took place from July 2 to 6, 2026 in Bern. Its title was Wind Music – Cultural Heritage in Transition. The program addressed wind music as cultural heritage in transition and included historical, social, aesthetic, and technical perspectives.[1]

Among the announced contributions, Yannick Wey presented a study on the growing diversity of social functions of wind music in the early 19th century. Philipp Wagner focused on the history of Swiss military music. Damien Sagrillo discussed the relationship between wind music, cultural heritage, and musicological legitimation, as well as editing as a research tool. Other contributions dealt with historical key mechanisms and the use of 3D printing in oboe construction, as well as recording techniques for wind instruments before 1925, among other topics.[1]

Thus, the program brought together historical research with questions of instrument development and documentation. It also focused on the role of wind orchestras in social and cultural contexts. The topics show that wind music research goes beyond the history of works and composers: it also examines performance practice, institutions, technology, and tradition.

The Conference Book 2026

The IGEB Conference Book, Bern 2026 was published in 2026 by Kliment Musikverlag. Damien Sagrillo compiled and edited the volume. The publisher’s catalog lists German and English as text languages.[2] This means the publication targets an international specialist audience and documents the scientific work of the Bern conference in book form.

Particularly relevant is the thematic breadth already evident in the conference program: contributions connect historical source work with current questions on cultural heritage, instrument making, and recording technology. Thus, the volume offers a professional reference point for further engagement with the conference topics.

The available publisher information confirms the editorship, year of publication, and languages. However, a complete table of contents for the book is not available in the cited information. Therefore, individual contributions or specific research findings from the volume cannot be definitively listed here.

Further information documents on previous conferences and congresses

A Contribution to Documentation and Exchange

The Bern Conference and the Conference Book 2026 demonstrate how IGEB promotes wind music research as a connection between scientific analysis and musical practice. The publication records contributions on various aspects of the field and makes them available beyond the conference period.

This documentation is significant for the professional classification of wind music: it supports the exchange between research and musical practice and opens up starting points for further investigations into repertoire, history, and instrumentation.

Sources

[1] Bern University of the Arts / IGEB — 28th International Wind Music Conference, Conference Program (2026) — https://www.uibk.ac.at/media/filer_public/8f/21/8f21906c-afdc-4674-9cc6-a97c4c9beddc/igeb_conference_bern_programm_version_080426_public_version.pdf
[2] Kliment Musikverlag — IGEB – Conference Book, Bern 2026 (2026) — https://en.kliment.at/detail.php?kat=7&artnr=97000354

Publisher Prices in the Database: Net, Gross, and Currency

Helmut Schwaiger
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Publisher Prices in the Database: Net, Gross, and Currency

Price information on musicainfo.net is directly associated with a publisher. Therefore, it should correspond to the information provided by the respective publisher. Many sheet music editions contain a direct link to the corresponding publisher. This allows you to compare the current retail price at any time. This article explains why there may still be differences when your dealer delivers the goods.

Net and Gross Prices

The net price is the price excluding VAT. Net prices are usually quoted by publishers outside the EU (e.g., Switzerland, Norway, USA, etc.). The gross price includes VAT. Which amount is applicable depends, among other things, on whether the publisher quotes the price net or gross and which tax rules apply to the specific delivery.

For sheet music and other musical publications, the applicable tax rate may vary depending on the country and product type. The nature of the transaction and the buyer’s tax status may also play a role. Therefore, it is not always possible to determine from the price alone what the final amount will be when placing an order.

Country of Delivery and Country of Publication

For tax purposes, the country of publication of a work is not automatically decisive. Particularly relevant may be the publisher’s location, the country of delivery, the type of delivery, and whether the sale is to a private individual or a tax-registered organization. The applicable rules also differ from country to country and may change. A price displayed in the database may therefore differ from the invoice amount calculated later.

Why Price Information Is Hidden

Our organization “Verein für Musikinformation,” which operates musicainfo.net, does not engage in retail sales itself. It does not sell sheet music and cannot continuously track publishers’ price changes. Since price information may become outdated over time, it is hidden after a specified period. This procedure is intended to prevent unconfirmed amounts from appearing as current prices. It does not mean that a work is no longer available.

Requesting Current Prices

Two options are available for obtaining current price information:

  • The price published by the publisher can be checked or requested directly via the link to the publisher.
  • If no direct link to the publisher is available, you can alternatively request current price information from us by email. When making an inquiry, it is advisable to provide our article number or the work title, and if applicable, the desired instrumentation or scoring.

The seven-parts ensemble: compact sound, versatile interplay

Helmut Schwaiger
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The seven-parts ensemble: compact sound, versatile interplay

The “seven-parts ensemble“is a common formation for small brass ensembles. It combines several brass instruments with drums and suits a wide repertoire, from traditional brass band music to modern arrangements. Its strength lies in the blend of clearly distinguishable individual parts and a full, carrying ensemble sound.

Instrumentation and roles

The lineup includes one to three trumpets or flugelhorns, trombone, tenor horn, baritone, tuba, and drums. Depending on the piece and the group, the number of trumpets or flugelhorns can vary.

Trumpets and flugelhorns often carry the melody. With their bright sound, trumpets provide clear accents, while flugelhorns are often used for a softer tone. With multiple melody parts, harmonies, countermelodies, and tonal reinforcement can be distributed across the voices.

Trombone, tenor horn, and baritone form the middle register. They connect melody and bass, take on harmonic parts, and can shape their own counter-lines. The tuba provides the low foundation and, together with the drums, supports the rhythmic pulse. The drums add accents and help shape the character of a piece.

Musical advantages of the small lineup

The seven-parts ensemble delivers a compact yet versatile sound. The melody can stand out clearly, while the middle voices provide harmonic richness. At the same time, the bass remains present. This division of roles allows for different musical effects without requiring a large ensemble.

The manageable number of parts makes the interplay especially audible. Intonation, rhythm, articulation, and dynamics have to be coordinated. Every part contributes to the overall result. This gives young musicians as well as experienced ensemble members the opportunity to take responsibility for their own part while also responding to the group’s sound.

The changing lineup in the upper parts creates additional options for shaping the sound. A piece can sound lean and transparent with a single melody voice. Two or three trumpets or flugelhorns can reinforce the melody, add harmonies, or split it across multiple parts.

Seven-parts ensemble in a festival setting

Woodstock der Blasmusik showcases the diversity of brass band music in a festival program with different artists, groups, and sound formats. The official artist page lists, among others, the “7 Rhöner FRANKen“, Innsbrucker Böhmische, “allgäu6“, and VieraBlech.[1] The program makes it clear that, at a festival, brass band music is not limited to a single lineup or style.

The seven-parts ensemble fits this setting because it is compact yet sonically flexible. Small groups can present their own repertoire and incorporate different musical influences. The lineup works both for traditional pieces and for arrangements in which melody, middle voices, and rhythm are redistributed.

The festival example illustrates the public presence of small brass ensembles within a larger brass band scene. However, it does not prove that all groups performing there play in exactly the seven-piece lineup described. The specific instrumentation must be checked for each ensemble.

A formation with clear roles

The popularity of the seven-parts ensemble can be explained primarily by its well-balanced instrumentation. It combines melody instruments, several voices in the middle register, a supporting bass, and drums. This creates a cohesive sound while still leaving enough room for individual parts and different arrangements.

For brass ensembles, this formation is therefore a practical basis for making music together and for versatile program planning. Its sonic possibilities always depend on the specific lineup, the arrangements, and the musicians’ interplay.

Sources

All sheet music for seven-parts ensemble on musicainfo.net

[1] Woodstock der Blasmusik — Artists (accessed on 2026-10-04) — https://www.woodstockderblasmusik.at/programm/kuenstlerinnen

Board Election: Nomination and Deadline for Feedback

Helmut Schwaiger
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Board Election: Nomination and Deadline for Feedback

In accordance with the statutes of our organization, a new board is elected every two years, which is responsible for the organization, financial development, and performance monitoring. If you are a full member—meaning you have access to all information in the database—you have the right to vote. A nomination has been submitted for the board of the non-profit “Association for Music Information.” Members may submit objections to the proposal or nominate additional individuals as candidates until November 10.

The proposed board is composed as follows:

  • Chair: Martina Doppler, 1140 Vienna
  • Deputy Chair: Doris Stadlmann, 4802 Ebensee
  • Treasurer: Johanna Heissl, 4802 Ebensee
  • Deputy Treasurer: Leonhard Hilzensauer, Vienna
  • Secretary: Dr. Stefan Müller, 1160 Vienna
  • Deputy Secretary: Sigrid Stadler, 4802 Ebensee)
  • 1st Auditor: Tax Consultant Harald Loidl, 4802 Ebensee
  • 2nd Auditor: Helmut Schwaiger, 4802 Ebensee

Notifications and objections must be sent in writing to the association’s address or by email to hello@musicainfo.supportby 12:00 PM noon on November 10.

If no objections are received by this date, the nomination shall be deemed accepted.

The Flying Dutchman Set Sail ….

Helmut Schwaiger
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The Flying Dutchman Set Sail ….

In the early morning, the sea lay calm off the Dutch coast. Not a breath of wind stirred the sails, and even the seagulls seemed to be waiting for the first note. Then an unusual ship appeared on the horizon. It bore the name of an ancient maritime myth, yet it arrived with a very different cargo: sheet music, sheet music, and more sheet music. The “Flying Dutchman” returned from a world tour. In this story, we are not referring to the legendary figure said to roam the seas for centuries. The Flying Dutchman is the Dutch music publisher Molenaar. Instead of gold, spices, or exotic goods, the ship was laden with new musical works. Its goal was to deliver this collection into the hands of conductors and active musicians (of course, female musicians are also included).

Where had it been, what route had it taken? We investigated and reconstructed the exact journey. The first stop was:

Belgium

Here it discovered two compositions by Jean-Pierre Heack: “Appaloosa” is primarily the name of a horse breed. In this work, however, it serves as the title for the story about the impressive journeys these animals undertake through the beautiful landscapes of the northwestern United States – the area from which they originally hail. Along the banks of the Palouse River, we also encounter an indigenous tribe of the same name… (Intermediate, 4’30)

“Terra Nostra” invites us to reconsider the beauty and fragility of our planet. With a powerful musical narrative, Haeck takes the audience on a journey through the four fundamental elements that have been considered the building blocks of all life since antiquity: air, water, fire, and earth. Each element is represented by its own sonic identity – full of symbolism and expression. (Upper-intermediate, 12’30)

Then the crew sailed on to:

France

There they found three contemporary composers: Lauren Weisbeck. Laurent Weisbeck’s Concertino 4.0 for trombone quartet solo and advanced wind orchestra presents trombonists with diverse technical demands. The work requires precise dynamic changes, differentiated articulations, and secure playing in extreme registers. Rhythmic complexity through polymetrics and syncopation demands intensive coordination within the ensemble. Solo passages and dialogues with the orchestra also require technical proficiency and musical expressiveness. Mastering these challenges promotes both the technical skill and the artistic expressive ability of the musicians. (Advanced, 8′)

Alexandre Carlin describes the moment of balance between day and night in “Equinox: Shadow and Dawn“. A monumental stone stands between a dark blue world of shadow and the golden dawn; a sunbeam symbolizes the transition. The approximately 6 1/4-minute composition follows an A-B-A form. The work has a clear musical structure with a symbolic representation of darkness, light, transition, and balance. (Intermediate)

In “Roma Aeterna“, the composer describes a musical journey through Rome, connecting various historical and cultural sites. The tour begins with the tranquil “Sunrise in Roma” in 4/4 time, then leads via the Appian Way and the Roman Forum. With “Plazas and Fountains”, the music comes alive in a fast, playful 6/8 time. “The Vatican” then provides a contemplative contrast with its calm tempo and religious character. In the “Colosseum”, tension builds through a fast tempo and the irregular 7/8 time, depicting a gladiatorial combat. In the concluding “Roma Aeterna”, earlier motifs reappear. This connects the individual stations and musically emphasizes the timeless significance of Rome. (Upper-intermediate, 9′)

Guillaume Detrez: La Montagne de Watten – In Houtland, Watten lies on the edge of Flanders. At 72 meters high, the Wattenberg is the westernmost link of the low mountain range in Flanders. A magnificent theme that refers to the mountain and its ascent. Once at the top, we have a spectacular view over Flanders. Then the mill starts, accompanied by a medieval theme symbolizing the abbey. In the finale, several overlapping themes resound. (Upper-intermediate, 6′)

With Nordic Lights, you offer your audience a spectacular and captivating musical experience. Inspired by the fascinating beauty of the Northern Lights, this work takes listeners on an accessible and enthralling sonic journey. From the very first bars, the audience is drawn into a mysterious, cool atmosphere, which is soon carried by expressive themes and striking contrasts. Rich orchestral colors, controlled energy, and a brilliant finale: Nordic Lights brings out all the qualities of the orchestra and immediately captivates the audience. As an ideal highlight of a concert program, this work combines modernity, emotion, and impact, guaranteeing an enthusiastic reception from musicians and listeners alike. (Upper-intermediate, 7’30)

Guillaume Detrez’s “Pharaoh’s Legacy” for advanced wind orchestra musically describes the mysterious legacy of the pharaohs. Solemn processional sounds, ritual sections, oriental timbres, and changing time signatures create a contrasting atmosphere. Modulations and rhythmic changes lead through musical images of ceremonies, scents, and desert landscapes. The work builds to a dynamic climax and concludes the formal arc in the finale, returning to the beginning. (7:30)

After France, the captain set course for

England

Dean Jones provided four compositions: #RustyOXI (Intermediate, 4’40), The Ancient Ruins (The Wonders of the World) and Sound Style Studio! (both Beginner, 6’30 and 7’15), as well as The Black and Gold, composed for the “1st Whitstable Scout Group Band”. The band was founded in Kent in 1919 and embodies the musical tradition of the Scout movement. Originally conceived as accompaniment for Scout activities, it developed into a renowned brass band that is also open to the local community. A central work that reflects this tradition and is dedicated to the band is Dean Jones’ composition “The Black and Gold (Spirit of 1907)”. The piece combines march-like rhythms with modern elements and, through modulations and a solo for glockenspiel and trumpet, recalls the values of Scouting.

Now the Flying Dutchman set course back to the mainland and landed in

Portugal

There, two composers were found: first, Vitor Resende with his composition “O Xerife“, an approximately 5 3/4-minute Paso Doble for advanced wind orchestra. Dedicated in 2022 to the “Banda Marcial do Vale” for their participation in the “Vila d’Altea” competition, the work begins solemnly and powerfully with a striking main theme that expresses the authority and presence of a sheriff. The brass section shapes the heroic sound character. In the subsequent Agitato section, a dynamic, narrative scene unfolds with agitated rhythms, sonic contrasts, and increasing tension. Precision, articulation, dynamic control, and a balanced interplay of all registers are crucial for a convincing interpretation.

Os Moinhos da Pinhoa (The Windmills of Pinhoa). Pinhôa is known for its historic windmills, which recall the former use of wind power for grinding grain. Today, they symbolically represent time, change, and the connection between humans and nature. In Vitor Resende’s composition Os Moinhos da Pinhoa, landscape and history are musically depicted: the Moderato conveys tranquility, the Allegro movement and wind power, the modulation change, and the Lento remembrance.

The Walls of Monção is a programmatic and expressive work, inspired by the legends and people of Monção, Portugal, whose stories echo through time. The musical design unfolds narratively, alternating between moments of great intensity and martial character, and lyrical and contemplative sections. Throughout the work, harmony and sound textures explore contrasts in dynamics, instrumental coloring, and thematic development, creating an epic, cinematic atmosphere. The composition follows a progressive structure that culminates in a grand finale, highlighting the symbolic and historical strength of the underlying theme.

Then it continued to

Spain

There they found a composition that, while not about Spain, concerned Sicily. And the island was on the planned route anyway. Juan A. Perez dedicated himself to the city of Syracuse, known for its Greek history, theater, and connection to Archimedes. This historical and cultural diversity forms the basis for Juan A. Perez’s composition “Siracusa“. The approximately 6 3/4-minute work for intermediate wind orchestra depicts the city not chronologically, but through musical moods. Quiet sections symbolize memory and culture, while faster parts express movement, conflict, and vibrancy. Overall, a musical city portrait emerges, conveying the history and atmosphere of Syracuse sonically.

Next, it went to

Malta

There they found the Camilleri family. We could not determine how closely the various individuals were related. In any case, Rene Camillerie provided two works: 1. EPOS (Clash of the Gods) for upper-intermediate wind orchestra (6’50) and 2. To the Point for intermediate wind orchestra (3′). Anthony Camillary created the composition Iubilaeum MMXXV, a concert march for advanced wind orchestra, composed for the Holy Year of Hope 2025. The work combines traditional march elements with symphonic development, alternating between festive celebration and contemplative reflection. Harmonic changes, shifting sound densities, and the evolution of themes reflect the tension between hope and uncertainty. The concluding reprise integrates the musical material, thereby expanding the traditional form of the concert march.

Now the ship set course through the Suez Canal to:

Japan

There they met the composer Tohru Kanayama with two new works: Brazilian Romance (Intermediate Wind Orchestra, 5’20) and “Soaring High Above“, which literally means “to ascend high” or “to grow beyond oneself”. In Tohru Kanayama’s composition of the same name, this image is realized through energetic and dynamic music. Each instrument group gets its own solo moments and can showcase its sonic possibilities. The percussion, especially the mallet instruments, also plays a prominent role. The continuous swing and groove create a lively, funky, and driving character. The title thus stands for both the emergence of individual sections and the collective musical development of the entire ensemble.

Then it returned home, and the sheet music collection was supplemented with local composers.

Netherlands

Geert Schrijvers provided two compositions and two arrangements: Concerto for a Rainy Day (by Electric Light Orchestra) and O Mio Babbino Caro by Giacomo Puccini, as well as Morias Enkomion for piano solo and advanced wind orchestra (12′) and Pressure and the Ticking Clock for upper-intermediate wind orchestra, musically describing the development of pressure and time constraints. In the “Nervous Build”, increasing unease arises. From bar 18, this intensifies through “Stressfully Fast” to urgency and overwhelm. The calmer section “Calmly” provides a brief relief. However, this remains temporary. From bar 87, the fast, stressful movement returns. The changing tempi and time signatures make the time pressure immediately palpable. The subtitle “It all starts here” indicates that stress begins with an initial impulse and can progressively intensify.

Eric Swiggers composed “Sparkling Pleasure“, written on the occasion of the 125th anniversary of the Ons Genoegen Music Association from Wijdenes. The title humorously alludes to the association’s name and its vibrant musical tradition. The composition opens with a festive fanfare full of energy and joie de vivre, followed by a tender Andante that offers space for reflection and emotions. After a reprise of the opening theme, the work flows into an Andante con grandezza, where the two main themes intertwine – symbolizing connection and future. An accessible, festive work and the ideal concert opener.

And then there is the composition “De Verschrikkingen van het ijs en de Duisternis” by Harrie Janssen for professional wind orchestra, with a duration of 35 minutes. The composition deals with the Austro-Hungarian North Pole Expedition (1872–1874) under Carl Weyprecht and Julius von Payer. This started with the goal of exploring the Northeast Passage. After getting stuck in the pack ice, the crew discovered Franz Josef Land, disproved the theory of an ice-free Arctic Ocean, and mapped parts of the Arctic for the first time. The expedition later inspired Christoph Ransmayr’s novel “The Terrors of Ice and Darkness” (1984), which addresses human hubris and forces of nature, as well as Harrie Janssen’s composition for wind orchestra, which musically translates the dramatic events. Both works show how historical events are reinterpreted through literature and music. The orchestral material is available for loan from the publisher only.

This composition therefore has a connection to

Austria

perhaps that explains why a composition from Austria got lost in the “Flying Dutchman” collection. Michael Geisler is represented with two works for intermediate wind orchestra: The Last Mammoth and On the Peak, which musically describes the path to the summit and is divided into a triumphant introduction, two rhythmic “Pop style” sections, a mysterious “Misterioso” part, and a fast “Allegro” finale. The composition thrives on contrasts, increasing energy, and precise ensemble playing.

With a clever trick, even non-members can access all background information on the compositions mentioned here (excluding radio tracks). We wish you much enjoyment.

All discoveries of the Flying Dutchman can be found in Molenaar New Publications 2026-2027

Helmut Schwaiger

New Releases from Scherbacher Publishing: A Repertoire Blending Tradition, Musical Imagination, and Entertainment

Helmut Schwaiger
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New Releases from Scherbacher Publishing: A Repertoire Blending Tradition, Musical Imagination, and Entertainment

The Scherbacher publishing house is expanding its catalog for wind orchestras and wind ensembles with new works that cover various aspects of everyday ensemble life. In addition to polkas and marches, the catalog includes chorales, warm-up exercises, and concert pieces. This creates a diverse selection for ensembles ranging from beginner to advanced levels, particularly for works in difficulty levels 2 through 4.

Our collaborations with Edition Bergluft, Venivicta.de, and the Edi Sagert publishing house are particularly significant. They enable the publication of additional compositions and arrangements and expand our repertoire to include a variety of stylistic and pedagogical approaches. The selected new releases demonstrate that traditional wind music, modern light music, and program-based concert repertoire can be successfully combined.

Collaborations with Edition Bergluft, Venivicta.de, and Edi Sagert Publishing

Edition Bergluft publishes its works in Germany through the music publisher Scherbacher. The series is dedicated to down-to-earth brass band music and complements the publisher’s existing catalog with compositions that have a clear connection to traditional brass band culture. The focus is on musical clarity, practical instrumentation, and the music’s suitability for everyday use in club and concert settings.

The collaboration with Venivicta.de also contributes to expanding the catalog. Among the works published there are compositions by Martin Heinrichs. The Edi Sagert publishing house also enriches the catalog with new compositions and arrangements for wind orchestra. This provides conductors, music teachers, and ensemble leaders with a wider selection of works suitable for both daily rehearsals and public performances.

A Musical Fantasy with “Blue Continent”

Josef Bönisch ’s“Blue Continent”fantasy falls within the realm of programmatic concert music. The very title “fantasy” suggests a musical structure that is not exclusively shaped by traditional dance or march forms. Rather, the focus is on diverse soundscapes, musical tensions, and contrasting sections.

The educational value of “Blue Continent” lies in the combination of technical and musical work. The musicians must not only play with precision in terms of rhythm and intonation, but also develop different tonal qualities. The piece is therefore particularly well-suited for ensembles that wish to expand their expressive range and work on developing their own interpretations that go beyond simply playing the notes.

Josef Bönisch was active as a composer, arranger, and music educator in both the fields of wind chamber music and wind orchestras. This combination of compositional experience and teaching practice is significant for the classification of his works. “Blue Continent” can be included in a concert program or used in a competition, provided that the specific instrumentation and difficulty level of the respective orchestra are taken into account.

A Taste of Spain in “Cadiz”

“Cadiz”is a paso doble arranged by Hector Sevillanas. The stylistic foundation of the work is characterized by a distinctive rhythmic profile, striking accents, and an effective musical presentation. The Paso Doble provides the ensemble with a clear formal framework while also adding a distinctive touch of color to a concert program.

“Cadiz” is suitable for club concerts, open-air performances, and programs that call for not only concert repertoire but also an immediately accessible piece with a dance-like character. For beginner- to intermediate-level ensembles, this piece can serve as a valuable exercise for developing rhythmic confidence, ensemble playing, and stylistically appropriate articulation.

Narrative Tension in “The Legend of the White Woman”

Patrick Egge’s“The Legend of the White Woman”is part of the standard concert repertoire. The subtitle, “The Ghost of Hohenzollern Castle,” alludes to a narrative and regional context. The work thus draws on a specific legend and provides the ensemble with a musical framework for the story.

Of particular importance is the development of a cohesive musical arc. Recurring themes should remain recognizable and be integrated into the musical flow. At the same time, the performance must not be focused exclusively on creating an illustrative effect. Even without detailed knowledge of the legend, the musical form should remain understandable.

This work is suitable for concerts and competitions, especially when a program-based main piece is needed. The combination of plot, atmosphere, and musical composition can make it easier to approach the interpretation. The exact classification within levels 2 through 4 should be determined based on the score and the specific instrumentation.

Light Music with “We Will Entertain You”

The ’90s medley “We Will Entertain You”focuses on entertainment and familiarity. As a “Hits of the ’90s Medley,” the piece weaves together several well-known musical themes. The individual sections change relatively quickly and require the ensemble to execute the transitions smoothly.

The focus is not on the continuous symphonic development of a single theme, but rather on the effective combination of several musical elements. A consistent tempo, clear articulation, and balanced use of registers are therefore crucial. The individual themes must remain clearly distinguishable so that the musical climaxes can have their full effect.

This medley is highly practical for the ensemble’s day-to-day activities. It can be performed at club concerts, festive events, and social gatherings. At the same time, it offers the orchestra the opportunity to become familiar with different styles and sounds and to expand its musical versatility.

Polkas, marches, chorales, and warm-up exercises

In addition to the concert pieces mentioned, the new releases also include polkas, marches, chorales, and warm-up exercises. These genres serve different functions within the ensemble. Polkas and marches promote rhythmic confidence, articulation, and ensemble playing within clear formal structures. They are versatile in the day-to-day life of a band and are suitable for both concerts and public performances.

Chorales focus musical practice on intonation, sound balance, phrasing, and breath control. They provide an important foundation, especially for beginner and intermediate ensembles, as they help develop key musical skills within a manageable framework. A well-crafted choral arrangement can also help sharpen awareness of the ensemble’s overall sound.

Warm-up exercises serve a direct pedagogical purpose. They can be used at the beginning of a rehearsal, during section rehearsals, or as targeted preparation for a concert. The focus is not on spectacular musical effects, but rather on systematic work on intonation, tone quality, articulation, and ensemble playing.

Implications for Repertoire Planning

The works presented here address various needs in musical practice. “Blue Continent” is ideal for ensembles that wish to work on sound design and expressiveness. “Cadiz” adds a rhythmically striking and audience-pleasing element. “The Legend of the White Woman” combines a narrative concept with concert-style arrangement, while “We Will Entertain You”—an entertaining medley of 1990s hits—adds variety to the concert program.

When selecting a suitable piece, in addition to the specified level of difficulty, the ensemble’s instrumentation, rehearsal time, and musical goals should also be taken into account. For example, a piece at the beginner or intermediate level can help develop basic skills. In contrast, repertoire at the advanced level often places higher demands on tonal balance, understanding of form, and interpretive independence.

Conclusion

The new releases from Scherbacher Publishing combine traditional wind music, educational literature, concert works, and modern light music. Through collaborations with Edition Bergluft, Venivicta.de, and the publisher Edi Sagert, a diverse program is created for wind orchestras and wind ensembles of various skill levels.

Overall, these new releases offer numerous points of reference for concert planning and ongoing rehearsal work. They help conductors, music teachers, and ensemble leaders select repertoire specifically based on musical demands, educational value, and practical applications. (Helmut Schwaiger; this report was generated with the help of AI)

Obituary for Music Publisher Michael Nowotny

Helmut Schwaiger
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Obituary for Music Publisher Michael Nowotny

Michael Nowotny (1960–2026) helped shape the world of music publishing for decades. As a musician, publisher, and music engraver, he combined musical understanding with great technical accuracy and craftsmanship. His professional path was closely linked to G. Henle Verlag and Trio Edition, which he co-founded, where he took on numerous responsibilities at the intersection of editing, engraving, and practical music performance.

Nowotny did not view music publishing solely as a place for the production and distribution of sheet music. For him, the focus was on the quality of the musical edition and its reliability for the daily work of conductors, teachers, and ensembles. With a keen eye for musical context and great care, he worked on scores and parts whose clear layout and precise reproduction are of decisive importance for rehearsals, teaching, and concerts.

Musicians and colleagues honored him as a thoroughbred musician, publisher, and music engraver of exceptional standing. This assessment describes a man who not only mastered his work but performed it with a deep inner connection to music. Accuracy, reliability, and professional competence characterized his daily professional life. At the same time, his zest for life, his humor, and his optimism will be remembered as personal qualities that enriched the collaboration with him.

Michael Nowotny died in 2026 after a short, serious illness, just a few months before his planned retirement. His death is a painful loss for his family, his colleagues, and the professional world. At the same time, his work remains alive in the editions he helped create. Every carefully engraved score and every reliably accessible musical edition serves as a reminder of the contribution he made to the preservation and communication of music.

Michael Nowotny leaves behind a legacy that is not loud, but permanently effective. His work has helped make musical works accessible for future generations. For this, he deserves recognition, gratitude, and an honored memory.

Sheet music editions from Trio Edition

Arrangements by Michael Nowotny

Paul Huber Year 2026: Théo Rossier Wins with “Ab Uno”

Helmut Schwaiger
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Paul Huber Year 2026: Théo Rossier Wins with “Ab Uno”

The Paul Huber Year 2026 shines a spotlight on a composer who has had a lasting impact on Swiss wind music. To mark this occasion, the Music Commission of the Swiss Wind Music Association announced an international composition competition. The competition sought a new work for wind orchestra that further develops a theme from one of Paul Huber’s compositions in the spirit of a musical metamorphosis.[1]

The competition was won by Théo Rossier, a composer from Vaud born in 2002, with his composition“Ab Uno.”The world premiere is scheduled for Sunday, September 13, 2026, as part of the gala concert for the SWISS WINDBAND AWARD Conducting Competition at the Kurtheater in Baden. The work will be performed by the Schweizer Armeespiel Symphonic Wind Orchestra in the presence of the composer.[2]

Paul Huber and His Contribution to Swiss Brass Music

Paul Huber lived from 1918 to 2001 and is considered one of the most influential Swiss composers of the 20th century. His work continues to hold special significance for the Swiss wind music scene to this day. The Paul Huber Year commemorates, in particular, the fact that 2026 will mark the 25th anniversary of his death.[3]

The tribute is not limited to the performance of historical works. Rather, the aim is to carry on Huber’s musical vision from a contemporary perspective. The composition competition thus bridges the past and the present: Contemporary composers were invited to engage with Huber’s music and develop an original composition based on it.

The call for submissions allowed participants a certain degree of creative freedom. The work was to be suitable for a top-tier or first-category wind orchestra. The duration and specific classical form could also be chosen freely. Works with a narrative plot, however, were not permitted.[1]

Eleven submissions from across Europe

Eleven composers from across Europe participated in the competition. The submitted works were judged anonymously. A jury of experts—comprising Emilie Chabrol, Stéphane Delley, and Felix Hauswirth —was responsible for the evaluation. The jury members first evaluated the compositions independently of one another based on the specified criteria.[2]

At the joint session,“Ab Uno”made the strongest impression on the jury. The decision was made before it was known who had composed the piece. Thus, Rossier’s composition was not selected based on the composer’s name or career to date, but rather on its musical quality and the compelling execution of the competition’s requirements.[4]

Théo Rossier: Composer and Conductor

Théo Rossier was born on June 11, 2002, in the canton of Vaud. He began composing at the age of 14 and was initially self-taught. Later, he took courses in harmony at the Lausanne Conservatory as part of the wind orchestra conducting program. He also earned a bachelor’s degree from the Bern University of the Arts.[5]

Rossier has previously gained experience composing for brass bands and wind orchestras. In 2022, he won first prize at the European Composition Competition for Brass Bands with“Stendhal’s Syndrome.”[5] His work thus combines composition with practical experience in wind orchestra music and conducting.

The Musical Concept Behind “Ab Uno”

The title “Ab Uno” can be roughly translated as “from one” or “out of one.” The title thus refers to the compositional starting point of the work: Rossier takes up the opening measures of Paul Huber’s “Adagio for Solo Cello.”[4]

However, “Ab Uno” does not simply copy the model. The theme is used as a musical seed in terms of rhythm and melody. As the composition unfolds, it appears in various forms and is integrated into changing sonic and musical contexts. An original idea thus gives rise to an independent, multi-layered progression.[4]

This approach is in line with the fundamental concept of the competition. In this context, “metamorphosis” does not simply mean the adaptation or orchestration of an existing theme. The musical material is transformed, further developed, and placed in new contexts. The connection to Paul Huber remains recognizable, while Rossier simultaneously develops his own musical language.

The jury particularly highlighted the clear and coherent structure of “Ab Uno.” The innovative musical language and the nuanced, colorful instrumentation were also recognized. In this way, Rossier uses the sonic possibilities of the wind orchestra not only to effectively present the theme, but also as an independent compositional device.[4]

Memory as a Creative Process

The Paul Huber Year 2026 demonstrates how a musical tribute can go beyond a mere retrospective. While Paul Huber’s work serves as the historical point of reference, the competition also looks toward the future of wind orchestra repertoire.

“Ab Uno” is a composition that draws on a specific work by Huber yet goes beyond mere quotation. Théo Rossier transports the source material into a new sonic and structural context. The world premiere in September 2026 will thus not only be a tribute to Paul Huber, but also an example of how contemporary composition can productively build upon tradition.

Sources

[1] Swiss Wind Music Association —“Call for Entries: Paul Huber Year 2026 Composition Competition”— 2025 —

[2] Swiss Wind Band Association / Unisono —“Paul Huber Year 2026: Théo Rossier Wins the Composition Contest”— 2026 —

[3] Swiss Wind Band Association —“That Was the EMF 2026”— 2026

[4] BRASS BAND NEWS —“Paul Huber Year: Théo Rossier Wins the Composition Contest”— 2026 —

[5] BRASS BAND NEWS —“Paul Huber Year: Théo Rossier Wins the Composition Competition”— “About the Composer” section — 2026

[6] Théo Rossier —“Ab Uno” and event information regarding the world premiere — 2026

(This article was generated by AI)

Dolly Parton – A Legend Who Filled the World with Music and Heart

Helmut Schwaiger
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Dolly Parton – A Legend Who Filled the World with Music and Heart

The voice of the people has fallen silent

Dolly Parton, one of the most influential figures in music history, has passed away at the age of 80. With her passing, the world has lost not only an exceptional artist, but also a woman who touched millions through her music, her humor, and her unwavering humanity. Her legacy extends far beyond the boundaries of country music—she was an icon, a philanthropist, and a voice for the underprivileged.

A Life Devoted to Music

Born on January 19, 1946, in Pittman Center, Tennessee, Dolly Parton grew up in modest circumstances. But her voice and talent were extraordinary from the very beginning. Even as a child, she sang in church and on local radio before moving to Nashville at age 18 to pursue her dream. There, she began a career that made her one of the most successful artists of all time.

In the 1960s, she enjoyed her first successes as a songwriter before becoming world-famous with hits such as “Jolene” (1973) and “I Will Always Love You” (1974). The latter, which later became even more popular thanks to Whitney Houston’s rendition, remains one of the best-selling songs in history to this day. Dolly Parton’s music has always been characterized by honesty, emotion, and a deep connection to her roots. She wrote not only about love and heartbreak, but also about people’s everyday lives, their struggles, and their dreams.

With over 3,000 songs written, 25 No. 1 hits, and countless awards—including 11 Grammy Awards—she shaped country music like few others. But her influence wasn’t limited to one genre: she collaborated with pop, rock, and folk artists, conquered Broadway with “9 to 5: The Musical,” and even captivated a young audience with her role in “Hannah Montana.”

More Than Just a Singer: A Humanist and Visionary

Dolly Parton was not only a musical legend, but also a woman with a big heart. Her social activism was legendary: Through her “Imagination Library,” she promoted reading skills among children worldwide, and during the pandemic, she donated millions toward the development of the Moderna vaccine. She championed education, animal welfare, and women’s rights—always with humility and without fanfare.

Her personality was just as radiant as her talent. With her striking appearance, sharp wit, and ability to fill any room with warmth, she became a symbol of authenticity. “It costs a lot of money to look this cheap,” she often joked about her glamorous image—but behind the glitz was a woman who never forgot her roots.

A Legacy That Endures

Dolly Parton’s music will live on—in the hearts of her fans, on stages around the world, and in the stories she has told. She was a trailblazer who broke down barriers, a source of comfort in difficult times, and a beacon of joy. For many, her song “Light of a Clear Blue Morning” will remain a symbol of their own hope—just as she herself was for so many.

The world mourns the loss of an artist who touched people not only with her voice but also with her humanity. Yet, as she herself said, “I don’t see myself as a star, but as someone who simply sings and tells stories.” And these stories will stay with us forever.

Dolly Parton – January 19, 1946, to August 27, 2026 (AI)

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