NAPOLÉON Mario BürkiDAS WERK
„In Frankreich gibt es nichts, das ewig ist. Diese Worte sollten aus dem Wörterbuch der Franzosen gestrichen werden.“ Gleich wie die Bemerkung Napoleons dem dritten, nachdem ihm sein Verteidiger mitteilte, er sei zu “ewiger Haft“ verurteilt, gibt es auch in der Musik nichts, was ewig ist. Ganz nach diesen Worten gerichtet, versuchte ich in meiner Komposition, altes mit neuem zu vermischen. So wechselt sich französisches Gedankengut, ganz im Stile der Musik des 19. Jahrhunderts, mit modernen Ideen stetig ab, wobei sich der französische (gothische) Einfluss mit kurzen Leitmotiven (aus Tschaikowskys „1812“ und der „Marseillaise“) stehts bemerkbar macht. Das Werk endet mit dem selben Thema wie es begonnen hat und soll damit zeigen, dass sich die Vergangenheit nicht leugnen lässt, dass sie zumindest im Geiste immer vorhanden sein wird.
Am 20. April 2008 jährt sich der Geburtstag von Prinz Louis Napoleon, dem späteren Napoleon III. und einzigen Ehrenbürger des Kantons Thurgau, zum 200. Mal. Aus diesem Anlass entstand diese Komposition im Auftrag der „Jugend Brass Band Forum Ostschweiz“ mit finanzieller Unterstützung der Thurgauer Kantonalbank.
DER KOMPONISTMario Bürki wurde am 26. Oktober 1977 geboren. Er studierte Blasmusikdirektion am Konservatorium in Bern und erreichte am Diplom sowie dem Höheren Studien-aus-weis das Prädikat „Sehr Gut“. Bürki besuchte Meisterkurse bei U.P. Schneider (Komposition) und Toshiyuki Shimada / Andreas Spörri (Dirigieren). Sein erstes gros-ses Werk - Szenen aus: Max und Moritz - erreichte am Kompositionswettbewerb der World Association for Symphonic Bands and Ensembles (WASBE) in Luzern den zweiten Preis und seine Komposition Indian Fire wurde am Wettbewerb Flicorno d’Oro Junior (Italien) mit dem Spezialpreis für das orginellste Konzertstück ausge-zeichnet. Zwei seiner Werke (Cap Hoorn und 1405: Der Brand von Bern) wurden an der Mid-Europe in Schladming uraufgeführt. Im November 2005 wurde 1405: Der Brand von Bern vom weltbekannten spanischen Blasorchester „La Artistica Buñol“ in Valencia aufgeführt.Mario Bürki ist Musikschulleiter an der Musikschule der Jugendmusik Ostermundigen. Als Instrumentalist spielt er Trompete, Klavier und Orgel. Mario erhält regelmässig Kompositionsaufträge.
D
E NAPOLÉON Mario BürkiTHE COMPOSITION
„In France there is nothing that lasts for eternity. Those words should be erased from the French dictionary.“
Just like the remark of Napoleon III after his attorney informed him that he had been sentenced to „eternal imprisonment“, in music there is also nothing that lasts forever. Following these words I tried to mix old with new in my composition. French musical ideas of the 19th century are constantly alternating with modern ideas. The French Gothic influence becomes apparent through the constant presence of short motives from Tchaikovsky’s 1812 or the “Marseillaise”. The theme from the beginning reappears at the end, showing how the past can not be denied, showing that the past is always is always present.
On 20 April 2008 was the 200th anniversary of Prince Louis Napoleon’s birthday. The prince, later known as Napoleon III, is the only honorary citizen of the Swiss Canton of Thurgovia, and for that reason the Youth Brass Band of Eastern Switzerland, with the financial backing of the “Thurgauer Kantonalbank”, commissioned this composition.
THE COMPOSER
Born the 26 October 1977, Mario Bürki studied wind orchestral conducting at the Berne conservatory. He also followed courses in composition with Urs Peter Scheider and conducting under the direction of Toshiyuki Shimada and Andreas Spörri. His first grand scale work Scenes of Max and Moritz gained a second place in the composition contest in Lucerne organized by the World Association for Symphonic Bands and Ensembles ( WASBE). During the Flicorno d`Oro junior contest (Italy), Indian Fire was awarded a special prize in acknowledgement of its originality. Mario Bürki is regularly commissioned to write for Wind and Brass Band. Two of his works (Cap Hoorn und 1405 : Der Brand von Bern) were premiered at the Mid-Europe Conference in Schladming and several have been chosen as set test-piece for contests. Alongside his composing he conducts various Wind Bands and teaches trumpet and theory. Mario himself plays the trumpet, the piano and the organ.
NAPOLÉON Mario Bürki
Dauer / Durée / Duration: 7.30´´Schwierigkeitsgrad / Degré de difficulté / Grade: 4
Blasorchester / Musique d´harmonie / Wind Band
Piccolo1st Flute2nd FluteOboeBassoonClarinet Eb1st Clarinet Bb2nd Clarinet Bb3rd Clarinet BbAlto Clarinet EbBassclarinet Bb1st Alto Saxophone Eb2nd Alto Saxophone EbTenor Saxophone BbBaritone Saxophone Eb1st Trumpet Bb2nd Trumpet Bb3rd Trumpet Bb1st Horn Eb/F2nd Horn Eb/F3rd Horn Eb/F1st Trombone Bb/C 2nd Trombone Bb/C3rd Trombone Bb/CEuphonium Bb/CTuba Bb/Eb/CTimpaniPercussion 1Percussion 2Mallets
musikverlag frank, Industriestrasse 30, CH-4542 Luterbachphone +41 (0)32 685 48 80 fax +41 (0)32 685 48 [email protected], www.musikverlag-frank.ch
Inst
rum
enta
tion
© 2008 by
Fiero (h=80)
© 2008 by musikverlag frank, Schulhausstrasse 22, CH-4528 Zuchwil, Switzerland
NAPOLÉONAuftragskomposition des JBBFO zum 200. Geburtstag von Napoleon III.
Die Thurgauer Kantonalbank hat die Idee grosszügig unterstütztUraufführung am 7. August 2008 auf Arenenberg TG
Mario Bürki
Soprano Cornet Eb
Solo Cornet Bb
Repiano Cornet Bb
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Flugelhorn
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2nd Bariton Bb
1st Trombone Bb
2nd Trombone Bb
Bass Trombone
Euphonium
Bass in Eb
Bass Bb
Timpani
Percussion 1
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Xylophon
p
Tenor Drum
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1825
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26 accelerando
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p cresc.
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Vibrapone
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3439 Pomposo (h=116)
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41
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4754 Lugubre!
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Hihat
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Xylophone
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55
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61
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ff mf
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Tam Tam
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6870
Sop. Cor.
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f
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74
Sop. Cor.
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79
Sop. Cor.
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Crash
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84 Marciale
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Bass in
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Perc. 1
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Mallets
ff
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div.
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ff
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f
f
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mute
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mute
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Hihat
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90
Sop. Cor.
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Perc. 1
Perc. 2
Mallets
f ff
14
95
Sop. Cor.
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f
f
f
mf
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100Sop. Cor.
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Perc. 2
Mallets
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f
ff
div.
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f
f
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ff
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ff
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open
ff
open
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open
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ff
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f
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105
Sop. Cor.
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Euph.
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f
S. C.
ff
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110
Sop. Cor.
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f
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18
116Sop. Cor.
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Perc. 2
Mallets
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f
ff
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f
ff
ff
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ff
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f
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f
f
f
f
f
ff
B.D.
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f
19
126132
Sop. Cor.
Solo-Cor.
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Flhn.
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B. Tbn.
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Bass in
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Tmp.
Perc. 1
Perc. 2
Mallets
ff
f
f
ff
f
ff
f ff
ff
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135
Sop. Cor.
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B. Tbn.
Euph.
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Perc. 1
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21
144 ritardando 148 Tempo Primo (h=80)
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B. Tbn.
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Bass in
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Perc. 1
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Mallets
decresc.
decresc. mf
decresc. mf
decresc. mf
mute
p
decresc. mf
mf decresc. p
mf decresc. p
p
mute
p
mute
mf decresc. p
decresc. decresc. p
decresc. decresc. p
decresc. decresc. p
decresc.
decresc.
p
Tenor Drum
Tambourine
p
S.C.
p mf
22
150 rit.Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Perc. 2
Mallets
open
p
p
p
23
157 Grave (q=60)
Sop. Cor.
Solo-Cor.
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3rd Cor.
Flhn.
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1st Hn.
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2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Perc. 2
Vib.
pp
open
pp
open
pp
pp
pp
pp
Glockenspiel
p
Vibraphone
pp
6 6 6 6 6 6 6 6 6 6 6 6
24
160
Sop. Cor.
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Flhn.
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B. Tbn.
Euph.
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Tmp.
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Glock.
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pp
mute
mp pp6 6
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mute
mp pp
6 6
mute
pp mp pp
6 6
mute
pp mp
6 6
mute
pp mp
6 6
6 6 6 6 6 6 6 6
25
162
Sop. Cor.
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2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
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Tmp.
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Glock.
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pp
pp
pp
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26
164
165Con Dolcezza
Sop. Cor.
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2nd Trb.
B. Tbn.
Euph.
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mf
open
open
mp
open
mp
p mp
p
mp
mp
sim.
6 6 6 6 6 6 6 6
27
166
Sop. Cor.
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B. Tbn.
Euph.
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one, muted
one, muted
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open
6 6 6 6 6 6 6 6
28
168
Sop. Cor.
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B. Tbn.
Euph.
Bass in
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Tmp.
Perc. 1
Glock.
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f
solo
pp mp mf
one, open6 6
pp mp
mf
one, open6 6
pp mp
6 6
pp mp
6 6
f
f
6 6 6 6 6 6 6 6
29
170
Sop. Cor.
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2nd Trb.
B. Tbn.
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Bass in
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Tmp.
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f
all
f
all
f
all
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f
f
mf
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30
173 Lamentoso
Sop. Cor.
Solo-Cor.
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Solo-Hn.
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1st Bar.
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B. Tbn.
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Bass in
Bass in Bb
Tmp.
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Glock.
Vib.
p
mute
mute
p
mute
p
f
f mp
f mp
mp
open
mf mf mp
mf
f
mp mf mf
mf
mf
p
S.C.
mp
p
31
175
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
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1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
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Glock.
Vib.
mp mf mp
mp mf mf
p
S.C.
mp
32
177
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
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1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
f
open
f
mf
mf
f
one, open
f
mf f
f
f
f
mp mf
mp mf
mp mf
mf
p
S.C.
mp
33
179 Maestoso
Sop. Cor.
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1st Hn.
2nd Hn.
1st Bar.
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2nd Trb.
B. Tbn.
Euph.
Bass in
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Tmp.
Perc. 1
Glock.
Vib.
ff
div.
ff
open
f
f
f
f
f
f
f
f
Xylophone
f
34
182
Sop. Cor.
Solo-Cor.
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3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
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1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
unis.
mf
mf
mf
f
35
185
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
mf
mf
mf
mf
f
f
f mf
f mf
f mf
f
mf
mf
S.C.
mf
mf
6 6 6 6
36
188189 Marciale (q =132)
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
mp
mf
mp
mf
mp
Snare Drum
3 3 3 3
6 6 6 6
37
192
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
mp
mp
mute
p
mute
p
mute
p
mp
mf mp
mf mp
3 3 3 3 3 3 3 3
38
197
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
mute
p
open
f
mute
p
open
f
open
f
open
mf mf
3
open
mf mf
3
open
mf mf 3
mp mf
mf
mf
cresc.3 3 3 3 3 3 3
39
202
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
f
ff
f
div.
f ff
f
ff
f
ff
mf f ff
mf ff
mf ff
mf ff
mf ff
mf ff
cresc.
ff
3 3 3 3 3
3 3
cresc.
ff
3 3 3 3 3 3 3
cresc.
f
3 3 3 3 3
3
3
ff
f
ff
f ff
ff
ff
3 3 3 3 3 3 3
C.C.
ff
Xylophone
mf f ff
40
207208
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Glock.
Vib.
mf
mf
mf
mf
mf
f mf
f mf
mf
mf 3 3 3 3 3 3
Tamburin
41
212216
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
mf
mf
unis.
mf
p
p
p
mf mf
one
mf
mf
mf
3 3 3 3 3 3
mp
B.D.
mf
42
217
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
mf
f
mf
mf
mf
f
mf
mf
mf
all
f
mf
mf
3
mf
43
221 accel.
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
mf
mf
mf
mp
fp
mf
p
p
p
mf
mf
mp
fp
fp
fp
fp
fp
fp
fp3 3 3 3
fp
44
226Con Forza (q = 148)
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
3 3 3 3 3 3
f
f
45
230
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
f
f
f
3 3 3 3 3 3
46
234
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
Tambourine
47
238 cresc.
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
3 3 3 3
f
48
242244
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
C.C.
ff
ff
49
246 poco accelerando
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
3
B.D.
f
50
251
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
3
51
253
Sop. Cor.
Solo-Cor.
Rep.-Cor.
2nd Cor.
3rd Cor.
Flhn.
Solo-Hn.
1st Hn.
2nd Hn.
1st Bar.
2nd Bar.
1st Trb.
2nd Trb.
B. Tbn.
Euph.
Bass in
Bass in Bb
Tmp.
Perc. 1
Tamb.
Vib.
ff fff
3
3
ff fff
3
3
ff fff
3
3
ff fff
3
3
ff fff
3 3
ff fff
3 3
ff fff
ff fff
ff fff
ff fff
3 3
ff fff
3 3
ff fff
ff fffff fff
ff fff
3 3
ff fff
3
3
ff fff
3 3
ff fff
ff fff
3
3
fff
ff fff
3
3
52