Results
-
£71.50When an Angel Gets its Wings - Christina Huss
Wonderfully moving, expressive, and poignant; composer Christina Huss brings us a lush and musical work for the developing concert band. Stretch the musicianship of your players with this heartfelt ballad, perfect for festival or concert performance.
Estimated dispatch 7-14 working days
-
£71.50Gratitude - William Owens
William Ownes brings us a wonderfully moving new work based on the Dutch Hymn "We Gather Together". Stretch the musicianship of your ensemble with this work that will hold your audience to their seat. A sensitive new work for the concert band.
Estimated dispatch 7-14 working days
-
£82.50Legend of the Honjo - Christina Huss
This moving new work from Christina Huss is a thought-provoking experience for the developing musician. A beautifully lyrical work with a heart-stopping climax makes this a sure-fire hit on any concert program.
Estimated dispatch 7-14 working days
-
£72.99Wind Power - Robert Buckley
In this impressive piece, the title Wind Power can refer either to the various machines that are driven by the wind, or the soaring sound of a wind band. In a cinematic style, this work opens powerfully with a series of tone clusters followed by a constantly moving series of notes depicting the ebb and flow of the wind. Then we are soaring high above the ground in a glider with only the sound of the wind keeping us aloft. With dramatic shifts in dynamics along with pulsing rhythms, this piece is a fun challenge for all members of the ensemble. Dur: ca. 5:00
Estimated dispatch 7-14 working days
-
£60.99The Better Angels of Our Nature - Paul Murtha
A simple yet elegant setting provides a poignant underscoring for the moving words of Abraham Lincoln's first inaugural speech in this work for band with narrator. The inspirational message is as timely today as it was on March 4, 1861.
Estimated dispatch 7-14 working days
-
£127.00Ray of Light - Kevin Houben
Ray of light was composed for the 75th anniversary of the Royal Wind Band (De Heidegalm Berkenbos). The mining environment of Berkenbos (Heusden-Zolder, B) is a proof of what used to be one of the most flourishing industries inLimburg viz. the Mining Industry. Going down the shaft in the elevator for the first time was a sensational experience for every miner: the noise of the closing doors, the shock experienced when the lift cage started moving tofall down whizzingly into the deep at a speed of 30 km an hour. The opening theme of Ray of Light doesn't only reflect the bravery of the descending miners but also their anxiety, their doubt and insecurity. In the solo passage,the anxiety during the long walk in the dark through the mine corridors with only headlamps and mine lamps is clearly audible. Working in the mines wasn't without any danger. The very flammable and at times explosive mine gasesalways posed a hidden threat. Apart from that there was always the continuous danger of collapse. The beautiful choral movements are therefore an ode to the miners that left their lives in the mine. The eastern scale refers tothe multicultural character of the mining environment of Berkenbos with its many commercial shops and different types of housing inherent in mining architecture. The mining profession is still a very dangerous job, but at the endof the dark corridor the miners still see a beam of light as a sign of hope.
Estimated dispatch 7-14 working days
-
£47.50The Magic Mirror - Robert Buckley
Looking at a perfectly still body of water, images appear right side up and upside down at the same time. The Magic Mirror creates this illusion with upper and lower instrument groups moving in contrary motion. Effective even for beginners, this piece sounds more advanced than it is, and everyone gets a chance to play melody! The First Concepts Series features simplified instrumentations, unison bass lines, optional advanced snare drum parts, and optional piano accompaniments.
Estimated dispatch 7-14 working days
-
£79.99Baba Yetu (from Sid Meier's Civilization IV) - Christopher Tin
Although composed for a video game, this African-flavored modern masterpiece has taken on a life of its own in pop culture as well as on the concert stage. This transcription by Matt Conaway matches the original orchestration andis compatible with the composer's own version for chorus. Performed with or without chorus, the effect is dramatic and moving. (MusicWorks)
Estimated dispatch 7-14 working days
-
£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
-
£104.99The Source - Bert Appermont
At the heart of this piece are several elements that inspired the composer. First of all: nature, infinite and inexhaustible, giving life and power, something bigger than humans can grasp. The composer used the Gregorian hymn 'Veni Creator Spiritus' as a leitmotiv to reflect this idea. A second element was the passing of David Maslanka, a dear friend of the composer, honoured in the work by a few musical 'echoes'. At the end of the work, there is a passage for optional choir in different possible settings. The Source was commissioned by the Banda Giovanlie Regionale ANBIMA FVG, Italy, and is an impressive, stirring and moving piece of music.
Estimated dispatch 7-14 working days
View Music