We zetten tijdens de repetitiedag onze tanden in het plichtwerk van het Concours in Luxemburg: CAPRICCIO van de Nederlandse componist Christiaan Janssen.

Een capriccio is een muziekstuk dat meestal vrij is in vorm en een levendig karakter heeft. Het is vaak snel, intens en virtuoos van karakter. Er wordt meestal gebruik gemaakt van triolen en syncopaties. Melodisch worden veelvuldig grote en grillige sprongen toegepast en ritmisch is er grote diversiteit in materiaal – ik tel 9 toonsveranderingen en 6 verschillende maatsoorten!
In de schilderkunst is een capriccio een fantasie van architectuur, die gebouwen, ruïnes en andere bouwkundige elementen naast elkaar plaatst in fictieve en fantastische combinaties. De componist beweert voor dit werk te zijn geïnspireerd door dit schilderij van de Italiaanse schilder Paolo Panini uit 1758.

Nieuw werk op de pupiter van Ypriana: Fantasy Variations van de componist James Barnes op een thema van Niccolo Paganini (1782 - 1840), de grootste viool virtuoos aller tijden. 

James Barnes' program notes:

Comissioned by Col. John Bourgeois for the United States Marine Band, "Fantasy Variations on a Theme by Niccolo Paganini" was premiered by the Marine Band at the 1988 Music Educators National Conference convention in Indianapolis, Indiana. During the years following its premiere, the band performed this work on several national tours, and on its first tour of Russia.
The set of twenty variations is based on the famous theme of Paganini's "24th Caprice in A Minor" for solo violin, which, or course, is the same theme used by Brahms and Rachmaninoff for their famous compositions, as well as by more contemporary composers (such as Lutoslawski and Blacher). For many years I had intended to write a set of variations on this clever theme for wind band, but I was waiting for the opportunity to write it for a really superb group of players, so that I could write whatever I wanted to say without having to allow for the limitations of amatuer players. When Col. Bourgeois approached me about writing a piece for the Marine Band, I told him on the spot what my plan was.
I had been thinking of the piece and improvising portions of it at the piano for so long that, when I finally had the chance to start work on it in late December 1987, I wrote the sketches for it in one week. After completing the piece, I realized why so many composers have used the theme. First, the harmonic progression is much more interesting that the tune itself, but when put togehter, the melody and the harmony are fantastic, and, secondly, it is impossible to get the tune out of your mind. When working on it, I couldn't stop whistling the tune. I would wake up in the middle of the night and hurry to write another variation. I rushed to finish sketching this work so I could geht that silly little tune our of my head.
When I began work on this piece, I realized that the various modern settings of this very 19th-century theme were neither complimentary nor effective.The interplay between the melody and the harmony is such a crucial factor on the impact of this tune that to go too far afield from the original version is detrimental to the overall effectiveness of the theme. I decided that, like Brahms and Rachmaninoff, I would stay with the basic harmonic progression that Paganini used. The reason I wrote the piece i A minor is because Paganini's "Caprice" (which is itself a set of nine virtuosic variations) is in A minor. I did this out of respect for the composer's original intentions.
My overall concept was to use the variation technique to showcase every solo instrument and/or every instrumental section of the modern wind band. In doing so, it was my intent to give the Marine Band a work they could play almost anywhere for almost any kind of audience: a piece full of energy, drama, and even a little humor.

Ypriana kwam op zaterdag 20 augustus voor de eerste maal na de zomerstop opnieuw bijéén voor een heuse repetitiedag. In een ontspannen en zomerse sfeer werden de nieuwe werken op de pupiter gelezen en startten officieel de voorbereidingen voor het concours in Luxemburg waar Ypriana aan deelneemt in 2017. Over de middag voorzag ECM-Events voor een popup pasta bar en bezorgde Jasper Gheyssen ons economische compositiekriebels bij de negende van Beethoven. Kortom; een geslaagde eerste repetitie(dag) met een leuke bezetting!