Results
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£72.00Classical Rondo (Flexible Solo with Concert Band - Score and Parts) - Capuzzi, Antonio - Glover, Andrew
Originally composed for solo double-bass and orchestra, the latest addition to the Barnhouse "Spotlight" series presents almost endless opportunities for featuring your soloist with concert band or a small wind ensemble. Parts are included to provide solo instrument options for any wind (or string) instrument in C, Bb, Eb, F, or bass clef. The accompaniment may be performed with full band; or, for balance purposes while accompanying string or higher woodwinds, it may also be performed by a smaller wind ensemble of flutes, oboe, clarinets, bass clarinet, bassoon, horns, and timpani. An excellent way to feature your star player or a guest artist!
Estimated dispatch 7-14 working days
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£89.99A Classical Christmas (Concert Band - Score and Parts) - Van der Beek, Wil
Duration: 6:15
Estimated dispatch 7-14 working days
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£84.99Classical Canon (Concert Band - Score and Parts) - Waignein, Andre
Duration: 5.00
Estimated dispatch 7-14 working days
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£18.00Classical Legend (from Songs for Young People) (Concert Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Schaeffer, Don
Tchaikovsky's well known classic from Songs for Young People, Opus 54, No.5 is carefully arranged to suit the abilities of beginning players. Both clarinet parts are below the break, and the simplistic scoring and harmonization are true to the spirit of the original work.
Estimated dispatch 7-14 working days
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£42.60A Classical Suite (Flexible Ensemble - Score and Parts) - Fernie, Alan
4 Part Flexible Ensemble and PercussionIncludes:OvertureMinuetIntermezzoFinale
Estimated dispatch 7-14 working days
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£49.50 -
£42.60
The Famous Classical Book (Flexible Ensemble - Score and Parts) - Fernie, Alan
4 Part Flexible Ensemble and PercussionIncludes:Hungarian Dance No.5Largo from the New World SymphonyIn the Hall of the Mountain KingCan-Can from Orpheus in the Underworld
Estimated dispatch 7-14 working days
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£94.99
Operatica - James L. Hosay
If you seek truly dramatic music, look to opera. Opera has been enormously influential on Classical, Popular, and Film and Television music over the years. James L. Hosay's new intermediate level piece, OPERATICA, incorporates the important elements of Opera and Classical music to bring exhilarating drama to the concert band stage. Style and technical considerations make this a rich learning experience for the band. Add in the dimension of music history by studying Opera and Classical music, and you have a wonderful teaching tool! The grand theme explores a multitude of colors as it twists and turns its way through opera-style development and variation. Whether for formal, festival,or spring concert use, you will find this to be a thrilling addition to your library.Opulent!
Estimated dispatch 7-14 working days
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£50.00Song of India - Nikolai Rimsky-Korsakov
This sultry classical favorite from Rimsky-Korsakov is faithfully arranged for young bands by Andrew Balent. Andy has a knack for retaining the essence of standard classical repertoire, while toning the technical difficulties down to the students' ability levels. Paying close attention to dynamic changes and ensemble balance will make this a winner in contest and festival settings.
Estimated dispatch 12-14 working days
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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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