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 81mf@musikverlag-frank.ch, 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

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126132

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182

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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