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£117.50
King Karl King - Henry Fillmore
Originally written for a film (The Big Brass Band) that was never made, this terrific but little-known march turned out to be the last march that Fillmore would write. Unusually rich in harmony, it was not published in Fillmore's lifetime. He had asked that it be named After his friend and fellow march composer, Karl L. King, if the movie was not produced.
Estimated dispatch 7-14 working days
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£53.50Four Pictures - Árpád Balázs
The teachers under whom rpd Balzs (b.1937) studied composition - Ferenc Farkas, Aram Khachaturian and Goffredo Petrassi - each independently formed the opinion that with his lyrical gift rpd Balzs's true creative field would be that of choral music and wind ensembles. Their early predictions are borne out by the roughly two hundred and fifty works for choir and almost twenty for wind orchestra that the composer has since produced. It is interesting that in the suite entitled Ngy kp (Four pictures) the stylistic features of these two related musical fields are united. In it the wind instruments sing! It was not by chance that the expansive second movement was given the title Cantilena, while the slightly livelier but just as lyrical third movement was entitled Arietta. The opening movement of the work is a stridently jolly, energetic Indul (March), but not one of the rigidly military kind: the 6/8 rhythm contributes to its light-hearted character. This music is avowedly akin to the ballet music of Prokofiev. This choice series of four character pieces is crowned by Jtk (Play) in which conveying the effect of the mixture of lines moving in parallel and then colliding with each other may be more technically demanding, but is well worth the effort! (Hungaroton HCD 31353)
Estimated dispatch 7-14 working days
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£104.50Esprit Du Corps March - John Philip Sousa
Fans and march enthusiasts will be delighted with this wonderfully stylish rediscovered march. At the time this march was written, Sousa was living in Philadelphia and had not yet begun his Marine Band career - but he was an accomplished composer who already had 34 publications to his credit. However, the march was not published for band until after he left the Marine Band and formed his professional band. This march, listed as Opus 45, is a fitting tribute to the great talent of the young John Philip Sousa, and to the esprit de corps of bands everywhere.
Estimated dispatch 7-14 working days
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£98.99Fractures in Time - Tyler Arcari
Looking at the world you start to notice not everything is modern. In fact, you can see bits and pieces of tech, objects, tools, structures that are from a time long past...peppered around our daily lives. These fractures in time remind us that we are not always completely modern. This sentiment is on full musical display in this unique and fresh offering from composer Tyler Arcari.
Estimated dispatch 7-14 working days
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£76.99
Saxophones in the Light - Harm Evers
The title Saxophones in the Light describes what the piece does - it puts not one, not two, but three of your saxophones into the limelight! At the same time Harm Evers also manages to bring out the best in your concert band. This exciting and inventive piece will give all your musicians a chance to shine.
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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£248.99Missa Brevis - Jacob de Haan
Missa Brevis, written for choir and wind band, was commissioned by the Conseil Dpartemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX'sbirth in guisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:1. clarinet choir (from Eb Clarinet to BassClarinet)2. clarinet choir + saxophones3. brass (flugelhorns, horns, euphoniums, bass section)4. brass (2 trumpets / 2 trombones)5. double reeds (optional + flute, optional + string bass)6. tutti7. all winds8. allbrassIn a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.Choral parts available separately.
Estimated dispatch 7-14 working days
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£75.00Sonata - Derek Bourgeois
This work, composed in 1998, was commissioned by the American trombonist Don Lucas as a work for trombone and piano and first performed by him in Birmingham on 19th May 2000. Subsequently, I arranged the music for both solo trombone and brass band and solo trombone and wind band so that it now exists in three formats. The first movement, in B flat major, is brisk and energetic, and is cast in sonata form. The second subject is gentler and more lyrical. The second movement, a scherzo in C major, is the most complex of the four. Basically the structure is a rond. For a long time the music remains in the opening 5/8 time until a new theme introduces more broken rhythms in a more jazzy idiom. After a return of the opening theme the following episode is more tonally ambiguous. Finally, the main theme returns to round off the movement. The third movement, a lyrical adagio, is really one long extended melodic flow. The harmonies are lush and the textures simple and direct. The tonal center is A minor, but the music meanders through so many keys, that this key centre is heavily disguised. The finale is a fiery affair. G minor is really its home key, but throughout the movement the music moves about a lot and the second subject is first heard in A flat minor. The movement's underlying sonata structure is masked not only by its loose tonality but also by its frequently changing time signatures. Like the first movement the second subject is more lyrical in nature and for a while it seems that the music will end peacefully, but a final flurry heralds a triple forte unison on the home note of the first movement - B flat. Derek Bourgeois
Estimated dispatch 7-14 working days
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£102.99Predator - Thierry Deleruyelle
The peace of a mountain village is shattered by a dreadful rumour: whether animal or something more disturbing, a creature is said to be prowling the area. After a quiet beginning, the music builds up with tense, nervous lines: fear sets in. The soundscape becomes fantastical, almost like a Halloween night.The villagers gather to hunt down the beast, with the orchestra conveying their determination through clear and energetic writing. The chase accelerates, breathless and spectacular, up to an uncertain outcome: the creature vanishes, without anyone having seen it. The initial chorale returns, calmer but not reassuring. The village regains its tranquillity, while retaining the memory of a mystery that has never been solved.
Estimated dispatch 7-14 working days
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£89.99Bolero For Band - Maurice Ravel
Initially commissioned by Ida Rubenstein as a ballet work initially, Maurice Ravel's BOLERO has become his most popular and often-performed orchestra composition, which was a surprise to the composer who described it as seventeen minutes of orchestra without any music. With a structure that is simplicity itself, BOLERO uses two alternating melodies in what Ravel described as a crescendo on commonplace melod[ies]. Mark Rogers' transcription of BOLERO is an entirely complete wind band version of the piece; omitting not a single note or exotic instrument, thereby transferring the brilliance of Ravel_x001A_s orchestral score to the symphonic wind band with as much fidelity to the original as possible. Ravel calls for a very large orchestra (triple woodwinds, saxophones, large brass section, harp, celesta and percussion). Consequently, this transcription of BOLERO contains a large amount of divisi writing. It goes without saying that this transcription will be most successfully performed by large symphonic wind band.
Estimated dispatch 7-14 working days
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