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£435.40Goldberg 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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£118.99Goodnight Moon - Eric Whitacre
Over the past few years I must have read Goodnight Moon to my son a thousand times - maybe more. Somewhere around reading number 500, I began hearing little musical fragments as I read, and over time those fragments began toblossom into a simple, sweet lullaby. I knew it was a long shot, but I asked my manager, Claire Long, to contact HarperCollins and see if they would allow the text to be set to music. To my surprise and delight they agreed - thefirst time they had ever allowed Goodnight Moon to be used in such a way. I composed the piece relatively quickly, originally setting the text for harp, string orchestra, and my son's mother, soprano Hila Plitmann. I laterarranged Goodnight Moon for SATB choir and piano. More recently, my dear friend Verena Msenbichler-Bryant arranged the piece for wind ensemble and soloist. The melody of Goodnight Moon will forever make me think of those quietnights, reading my son to sleep. -Eric Whitacre
Estimated dispatch 7-14 working days
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£149.40
Dancing Trolls [Norwegian Dance] - Øystein Olsen Vadsten
"Dancing Trolls" is a sequel to "The Battle of the Hats", which was published in 2015. Like "The Battle of the Hats", "Dancing Trolls" is a piece of music based on Norwegian traditional dances. This time around,its the reinlender dance which takescentre stage.The music is composed by ystein Olsen Vadsten who keeps the strong melodic and tempo, which is dear to this kind of dance. Admittedly given a make-over with a more rhythmic accompaniment and more excitingharmonization.This makes it a fun piece, both to Listen to and play. The reinlender dance derives from the Rhineland in Germany,and is also known as the German Polka.To the conductor:Because this is a dance form whichisdependent on the right "swing", it is of great importance to keep as close to the metronome mark as possible. A steady groove, primarily specified by the drum set, is also essential for a good result. Remember to keep a good balance between themelody carrying instruments and the accompaniment. Good luck and have fun with this "crazy" little tune.
Estimated dispatch 7-14 working days
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£118.99Goodnight Moon (Concert Band - Score and Parts) - Whitacre, Eric - Markowski, Michael
"Over the past few years I must have read Goodnight Moon to my son a thousand times - maybe more. Somewhere around reading number 500, I began hearing little musical fragments as I read, and over time those fragments began to blossom into a simple, sweet lullaby. I knew it was a long shot, but I asked my manager, Claire Long, to contact HarperCollins and see if they would allow the text to be set to music. To my surprise and delight they agreed - the first time they had ever allowed Goodnight Moon to be used in such a way. I composed the piece relatively quickly, originally setting the text for harp, string orchestra, and my son's mother, soprano Hila Plitmann. I later arranged Goodnight Moon for SATB choir and piano. More recently, my dear friend Verena M?senbichler-Bryant arranged the piece for wind ensemble and soloist. The melody of Goodnight Moon will forever make me think of those quiet nights, reading my son to sleep." -Eric Whitacre
Estimated dispatch 7-14 working days
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£141.99Goodnight Moon (Vocal Solo (Soprano) with Concert Band - Score and Parts) - Brown & Whitacre - Mosenbichler-Bryant, Verena
Note from the Composer: "Over the past few years I must have read Goodnight Moon to my son a thousand times - maybe more. Somewhere around reading number 500, I began hearing little musical fragments as I read, and over time those fragments began to blossom into a simple, sweet lullaby. I knew it was a long shot, but I asked my manager, Claire Long, to contact HarperCollins and see if they would allow the text to be set to music. To my surprise and delight they agreed - the first time they had ever allowed Goodnight Moon to be used in such a way. I composed the piece relatively quickly, originally setting the text for harp, string orchestra, and my son's mother, soprano Hila Plitmann. I later arranged Goodnight Moon for SATB choir and piano. More recently, my dear friend Verena M?senbichler-Bryant arranged the piece for wind ensemble and soloist. The melody of Goodnight Moon will forever make me think of those quiet nights, reading my son to sleep." - Eric Whitacre
Estimated dispatch 7-14 working days
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£76.99Two for Christmas (Concert Band - Score and Parts) - Kernen, Roland
For this work in popular style, Roland Kernen uses two well-known Christmas melodies. In the introduction we hear O Little Town of Bethlehem, followed by a lively version of Silent Night. Subsequently, the attractive carol O Little Town of Bethlehem is featured more extensively. Two for Christmas is a fine addition to your contemporary Christmas repertoire.Duration: 4:00
Estimated dispatch 7-14 working days
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£69.95Aylesbury Dances (Concert Band - Score and Parts) - Wiffin, Rob
The suite Aylesbury Dances was commissioned by the Aylesbury Concert Band to mark the occasion of their 25th Anniversary in 2019. Its three movements depict different aspects of Aylesbury: I. Pavane: The Town - Having read something of the town's history and its architecture I decided I wanted to write something ceremonial with the feel of music from Tudor times. Aylesbury was given its charter and borough status in 1554 by Mary Tudor so I took that as my starting point but then added some harmony that moves forward in time. This fits with the town's motto: Semper Prorsum (Always forward) and also with the Band's evolution from Aylesbury Town Band to Aylesbury Community Concert Band to Aylesbury Concert Band. The music can be defined as a pavane, or a cortege. The sense of procession is slightly disturbed by a 'Blue Leanie' moment. The Blue Leanie is an iconic Aylesbury building, an oblique rhombic prism which stands at an angle of 17% inclination. I took a quaver out of the time signature (I know the maths don't work!) to reflect this and added some bluer harmony at that point. This opening movement gives a sense of the grandeur and heritage of Aylesbury town and a chance for my friends from the brass section to warm up! II. Siciliana: Waterside - To balance the outer two movements, the middle movement of the suite has a slow lilting 6/8 rhythm. It is in the style of a Siciliana, a dance form originating in the baroque era. It is a graceful, tender and melancholic dance, cast here in a minor key and featuring the dark voice of the cor anglais. The Siciliana was often linked with pastoral scenes and Aylesbury itself sits amid some beautiful countryside. It may, therefore, seem a bit of a stretch to call this movement 'Waterside', especially as Aylesbury is so far from the sea, but the town has a theatre of that name and that was the genesis for this particular music. There is a statue of Ronnie Barker in the grounds of the Waterside theatre as he started his career in repertory theatre in Aylesbury, so I included a fleeting reference to the theme music of the comedy programme 'Open all Hours'. III. Frolic: Ducks in a Row - It was impossible to write a piece connected with Aylesbury without considering the famous Aylesbury ducks. Duck rearing was a major industry in the town in the 19th century. The white Aylesbury Duck is a symbol of the town, appearing on its coat of arms and in the logo of the Aylesbury Concert Band! This movement is all about trying to get the little darlings in a row so they can sing their 'Duck Chorus' together but they keep on scattering, flying off or swimming away as quickly as they can manage. It's a bit like watching ducks disperse when my dog jumps into the stream after them. Eventually we get more of them in a row - even though they protest. Hidden amongst the ducks is a reference to Erica Miller, saxophonist and chairman of the band, and there's even a veiled reference to a shark in the hope of getting them out of the water. Ducks in a Row is a fun romp bringing this suite of Aylesbury Dances to a suitably celebratory conclusion.- Rob Wiffin.Duration: 9.15
Estimated dispatch 7-14 working days
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£189.99Masked - Alex Shapiro
Masked by Alex Shapiro is composed in the exact shape of a Classical Minuet and Trio waltz, though the music--a whimsical if somewhat demented masked ball (or, balls, in this case)--bears little connection to that of Mozart or Haydn. Historically, third movement Minuets gave way to the joke-like Scherzo, and the Trio section tips its hat to some welcome levity. This is one of four movements in Suspended, a piece is composed in the tradition of an 18th century Classical symphony: four contrasting movements which serve specific functions and reveal a story. The work begins in absolute rage and chaos, then alternates between moments of grief and bleakness. Grim reality shifts to a macabre, circus-like insanity, and by the end, flickers of genuine hope contrast a pervasive sense of dread, and finally arrive at more optimistic possibilities. To perform the piece, you'll need an audio system capable of playing the prerecorded audio tracks from a laptop computer via a small digital audio interface connected to an audio mixer. Download information is provided in the printed piece.
Estimated dispatch 7-14 working days
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£78.99
Festival Fanfare and March - Chris Bernotas
From the brilliant opening fanfare to the noble march, this little masterwork sounds more like an adventure movie score than a young band piece. This is a creative and spirited work for introducing students to 6/8 meter. Sounding a lot harder than it really is, this is a very likeable piece for opening a concert, or music festival.
Estimated dispatch 7-14 working days
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£69.99
Excursions - James Curnow
A joyous and exuberant sparkler for your next concert! This bright little bijou from James Curnow is a great way to start the show. It's as inviting as they get and will engage every listener from start to finish.The easy excitement will motivate your Grade 2 band to their iridescent best. For groups playing regularly at a Grade 3 level EXCURSIONS also works well in the program following any heavy major work you may have chosen to perform. It's a perfect way to lighten the mood and recapture those listeners who may be new to the art of listening to larger forms.Use it anywhere, anytime of the year. It'll be quick to prepare, effective in concert, and has much more tooffer educationally than the typical "pop/movie tune" type of fare.Take a look!
Estimated dispatch 7-14 working days
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