Results
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£36.95Remember Me (Concert Band - Score and Parts) - Purcell, Henry - Wiffin, Rob
An arrangement for wind band of Purcell's haunting Dido's Lament. This arrangement was made in the period of national mourning following the death of Her Majesty Queen Elizabeth II. I needed something as a reflective concert piece and chose to arrange Dido's Lament - the aria "When I am laid in earth" from the opera Dido and Aeneas by the English composer Henry Purcell (1659-1695). There have been various versions of this beautiful song from Stokowski's lush orchestration to Annie Lennox's more lateral slant. While not wanting to try and completely emulate the original, I did not want to stray too far from it. Purcell's style of Baroque music was uniquely English and, for the theoretically minded, this aria makes exemplary use of the passus duriusculus in the ground bass.- Rob WiffinDuration: 3.30
Estimated dispatch 7-14 working days
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£49.95The Birdcatcher (Euphonium Solo) (Concert Band - Score and Parts) - Mozart, Wolfgang Amadeus - Brand, Geoffrey
This arrangement can be played as a solo for euphonium (baritone) or bassoon. The introduction and "The Birdcatcher's Aria" are as in Mozart's opera 'The Magic Flute' (where the aria is sung 3 times), with the distinctive flute figure as a feature. In this arrangement, a variation has been added to provide the soloist with the opportunity to display instrumental prowess.
Estimated dispatch 7-14 working days
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£9.95
The Birdcatcher (Euphonium Solo) (Concert Band - Score Only) - Mozart, Wolfgang Amadeus - Brand, Geoffrey
This arrangement can be played as a solo for euphonium (baritone) or bassoon. The introduction and "The Birdcatcher's Aria" are as in Mozart's opera 'The Magic Flute' (where the aria is sung 3 times), with the distinctive flute figure as a feature. In this arrangement, a variation has been added to provide the soloist with the opportunity to display instrumental prowess.
Estimated dispatch 7-14 working days
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£84.99
Una Furtiva Lagrima (Concert Band - Score and Parts)
Una Furtiva Lagrima is a brilliant arrangement by Jacob de Haan, of the aria from Gaetano Donizetti's opera L'Elisir d'Amore (The Elixir of Love) for concert band. The subject of this song is the power of love: Nemorino, the main character of the opera, sings the aria as he notices that his love potion is starting to take effect on his beloved. A furtive tear (Una Furtiva Lagrima) betrays his beloved's feelings towards him in this emotional piece. 0:03:20
Estimated dispatch 7-14 working days
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£34.95
Melodies from Great Composers
Ray Steadman-Allen has selected 4 melodies, composed by some of the great composers, and linked them together to form a medley that will appeal to many a listener. 'Soldier's March' by Schumann, Haydn's 'Aria', 'Waltz No. 3' by Schubert and the exciting theme from 'William Tell' by Rossini have all been featured to make both a interesting and educational medley for young bands.
Estimated dispatch 7-14 working days
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£120.40Xenon - Filippo Ledda
Elemento chimico della Tavola Periodica degli Elementi, lo Xenon fa parte del gruppo dei Gas Nobili. incolore, inodore e decisamente pi pesante dell'aria. In un tubo riempito di gas, emette una luce molto intensa quando eccitato con una scarica elettrica, per cui viene utilizzato per la realizzazione di lampade e dispositivi luminosi. Il brano, diviso in sette sezioni che si susseguono senza soluzione di continuit, descrive un viaggio immaginario che percorre diametralmente l'interno di un atomo di xenon. La prima sezione (On the Edge of Nowhere), partendo dal presupposto che l'atomo una struttura al 99,9% vuota, descrive una realt non solo impercepibile dall'occhio umano ma anche non facilmente razionalizzabile, cos la sottile linea che separa il "nulla" dalla materia visibile rappresentata da un assolo di sax contralto. La seconda e la sesta sezione (Electrons) descrivono la nuvola di elettroni che turbina vorticosamente attorno al nucleo dell'atomo. I temi musicali qui si rincorrono e si scontrano; la ritmica delle percussioni, perlopi metalliche, simula questo moto perpetuo. La terza e la quinta sezione (Luminescence) descrivono la zona di quiete tra gli elettroni e il nucleo. Tutto avvolto da una luce bianca, simile a quella del sole; un momento di stasi, ma solo apparente: la calma durer poco. La sezione centrale (Core) il nucleo del brano. La parte pi interna dell'atomo anche la pi densa: percussioni martellanti, riff solidi, armonie sature, vogliono rappresentare la sua natura stabile e dinamica al tempo stesso. Infine, l'ultima sezione (On the Edge of Everything) rappresenta la conclusione del viaggio: l'uscita al di fuori dall'atomo di xenon con la consapevolezza, stavolta, che la materia visibile soltanto la miliardesima parte della realt, tutto il resto energia. L'assolo di sax, che riappare nelle ultime battute del brano, assume ora un diverso significato: cos' "nulla" e cos' "tutto"? La fine di questo viaggio immaginario, veramente una fine? Xenon la terza composizione della serie che l'autore sta dedicando ai Gas Nobili.
Estimated dispatch 7-14 working days
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£391.20Goldberg 2012 - Svein H. Giske
The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-
Estimated dispatch 7-14 working days
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£74.99Forget Me Not, O Lord - Johann Sebastian Bach
An excellent example of Bach as a song writer. Taken from a volume of sacred songs published in 1736, Bach identifies it as an aria, not as a chorale, and must have thought of it as a lyrical melody to be sung in concert rather than as four square chorale.
Estimated dispatch 7-14 working days
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£76.99
Non piu andrai - Wolfgang Amadeus Mozart
The well-known bass aria from Mozart's brilliant comic opera in a wonderful band arrangement by Edgar Barrow. Vocal solo with concert band accompaniment. Excerpted from: Marriage of Figaro
Estimated dispatch 7-14 working days
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£71.50
Caro Nome - Giuseppe Verdi
Famous soprano aria from Verdi's Rigoletto. Vocal solo with concert band accompaniment.
Estimated dispatch 7-14 working days
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