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£209.99Diamond Concerto - Philip Sparke
Diamond Concerto was commissioned by Musikverein Mrschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein.The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village ofMrschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:1 EARTH STARis rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.2 OCEAN DREAMuses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.3 BLUE HEARTwas written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Soloist: Difficulty 6Diamond Concerto is available for euphonium and piano (AMP 374-401) as well as for euphonium and brass band (AMP 354-030).
Estimated dispatch 7-14 working days
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£209.99Diamond Concerto (Euphonium Concerto No.3) (Euphonium Solo with Concert Band - Score and Parts) - Sparke, Philip
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein. The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village of Morschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:Earth Star is rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.Ocean Dream uses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.Blue Heart was written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Duration: 15:45
Estimated dispatch 7-14 working days
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£59.95
Where Eagles Sing - Paul Lovatt-Cooper
The inspiration for this piece came when the composer visited Florida and the Bird Sanctuary in Walt Disney World's Animal Kingdom. He was in the audience to see the rare bird's show where he witnessed some fabulous looking and endangered birds that were trained to perform different tricks that wowed the audience. The highlight for him was the conclusion of the show where the most awesome sight greeted us as an American Bald Eagle soared over the audience. That particular breed of Eagle has been a very rare bird of late. With so few in numbers, it nearly became a member of the sad group of animals that are extinct.The host of the show took great delight in informing the audience that the fantastic creature is now officially safe and no longer classed as endangered. This made a great impact on the composer as the Eagle is an amazing bird, huge in size and power and yet so graceful in flight. This piece is everything associated with the Eagle; bold, powerful and graceful and now free to soar and sing in the American homelands.Where Eagles Sing has been hugely successful as a curtain-raiser (or finale) with brass bands around the world and it is hoped that this version for wind band will be just as popular.
Estimated dispatch 7-14 working days
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£124.99Century Variations - Oliver Waespi
In 2025, the Stadtmusikkapelle Wilten celebrated its 375th anniversary and the Tiroler Blasmusikverband, its 100th anniversary. Century Variations was thus created as a joint commission and is a free fantasia on Heinrich Isaac's famous song, Innsbruck, ich muss dich lassen (Innsbruck, I Must Leave Thee). In addition to pulsating rhythms and a luminous flow of sound, this energetic concert work includes a beautiful, introverted Adagio featuring various solo instruments.
Estimated dispatch 7-14 working days
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£139.00Himlen i min famn - Carola Häggkvist
"Heaven in My Arms" is a beautiful melody by Carola Hggkvist with lyrics by Erik Hillestad.This version is without vocal soloist so the melody is spread into many parts throughout the arrangement.(There are cue notes for oboe and bassoon, where they have soloistic elements.)To the conductor:Strive for good flow and phrasing. Feel free to be a bit creative with the phrasing. It invites for two-bar phrases in the melody, but perhaps 2/2/4 could also work nicely.Balance is very important. Often there is both melody and obligato/countermelody in addition to harmonic elements. Let each of them have their own layer in the balance.Staccato effects in clarinets and marimba are intended as pizzicato effects and must be phrased. Not too static.The tutti section at 72 can be energetic with intense lines. Maybe a little pi mosso as well. Think big and orchestral with good resonance and timbre.- Reid Gilje -
Estimated dispatch 7-14 working days
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£122.50Festive Music
This work of festive atmosphere was written in 2000 for symphonic band, then the composer arranged it for symphony orchestra. In this piece, Lszl Dubrovay (*1943) parts with his special, hallmark concert band effects; rather, lively vibrations enriched with colliding seconds and distant overtones are brought to the foreground. The special sound is coloured by ornamental trills, appearing even in batches, and vibrating collisions in the high registers. The performance is rendered even more unique by the outer trumpets on both sides of the space. The trumpets and the flugelhorns can be divided into ten parts altogether, thus, the piece can be played by one ensemble or several bands together, as it is usual at the conclusion of large-scale festivals. This composition may be a great choice for festive concerts, since it is a solemn, innovative, and - by virtue of the free arrangement of the performing space - special work at the same time.
Estimated dispatch 7-14 working days
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£392.50Old Licks Bluesed Up - Version for Concert Band - Torstein Aagaard-Nilsen
The word "old" and the title of each movement refers to music of the past. The word "licks" comes from blues, rock and jazz. Licks can be arpeggio-figures, scales and riffs that is regularly used in improvisations. Toccata is a well known musical genre from the baroque keyboard music, a free flowing piece filled with energy. The ritornell can be described as a refrain, a recurring theme used in the ritornello form of the baroque era.
Estimated dispatch 7-14 working days
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£115.60Mil etter mil - Kai Eide
This song performed by Jahn Teigen represented Norway at the Eurovision final in 1978. The result was zero points, but after that, the song soon became very popular in Norway and is one of the biggest hits of his career.This arrangement may easily be a hit on your next concert and will for sure receive more than zero points from you audience. Feel free to invite the audience on a sing-along!
Estimated dispatch 7-14 working days
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£79.99Scalin' and Wailin' - Thomas C. Duffy
Scalin' and Wailin' is a flexible, fun piece written with a differentiated instruction model. Three different difficulty levels meet students where they're at in their development and allows space for each to grow. This piece is also ideal for educators and conductors looking for side by side programming - younger ensembles can all play within the easiest group and more advanced ensembles can play within the more difficult groups, all fitting together in one energetic piece. Celebrate BandQuest's 20th anniversary with this special release, and find what works for your ensemble! BandQuest, an exciting series of new music and accompanying curricula for band, is a program published by the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email [email protected] to request a free downloadable audio catalog.
Estimated dispatch 7-14 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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