Results
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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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£75.00O Come, All Ye Faithful (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
O Come, All Ye Faithful (originally written in Latin as Adeste Fideles ) is a Christmas carol that has been attributed to various authors, including St. Bonaventure in the 13th century or King John IV of Portugal in the 17th, though it was more commonly believed that the text was written by Cistercian monks - the German, Portuguese or Spanish provinces of that order having at various times been credited. In modern English hymnals the text is usually credited to John Francis Wade, whose name appears on the earliest printed versions. A manuscript by Wade, dating to 1751, is held by Stonyhurst College in Lancashire. The version published by Wade consisted of four Latin verses. But later in the 18th century, the French Catholic priest Jean-Francois-tienne Borderies wrote an additional three verses in Latin; these are normally printed as the third to fifth of seven verses. O come, all ye faithful ranks as one of the most popular Christmas carols ever written, and the descant by David Willcocks has become famous the world over. This arrangement represents one in the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
Estimated dispatch 7-14 working days
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£29.95
Waltz in A Flat - Score and Parts - Johannes Brahms
Program NotesJohannes Brahms was born in Hamburg in 1833 but spent much of his working life in Vienna, where he was one of the leading figures in what is generally known as the Romantic period. Such was his significance that he is often referred to as one of the "Three Bs" alongside Bach and Beethoven! His compositions range from piano solos to major works for choir and orchestra and, as a virtuoso pianist, premiered many of his own works. His beautiful Waltz in A-flat Major is an item of repertoire that is familiar to many - even if it's not known by name! Published as one of a set of 16 waltzes for piano (Opus 39:15), it has been transcribed here for wind band by Brian Bowen.
Estimated dispatch 7-14 working days
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£5.95
Waltz in A Flat - Score only - Johannes Brahms
Program NotesJohannes Brahms was born in Hamburg in 1833 but spent much of his working life in Vienna, where he was one of the leading figures in what is generally known as the Romantic period. Such was his significance that he is often referred to as one of the "Three Bs" alongside Bach and Beethoven! His compositions range from piano solos to major works for choir and orchestra and, as a virtuoso pianist, premiered many of his own works. His beautiful Waltz in A-flat Major is an item of repertoire that is familiar to many - even if it's not known by name! Published as one of a set of 16 waltzes for piano (Opus 39:15), it has been transcribed here for wind band by Brian Bowen.
Estimated dispatch 7-14 working days
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£138.00The Saints And the Royal - Eric Swiggers
The Saints and the Royal was composed on behalf of Royal brass band St. Willibrord Heeswijk on the occasion of its 200th anniversary in 2023.When the marching band was founded in 1823, it was given the name "Harmonie Sint Cecilia," referring to Saint Cecilia, the patron saint of music. Around 1904, the name was changed to 'Kerkelijke fanfare Willibrord', strongly emphasizing the connection with the church in Heeswijk, of which Saint Willibrord is the patron saint. In 1973, at its 150th anniversary, the band received the predicate 'royal'. From that time on one speaks of the Royal brass band Saint Willibrord.The composition musically depicts both Saints Saint Cecilia and Saint Willibrord and the jubilee royal brass band. Although one of the oldest musical societies in the Netherlands, this fanfare is alive and kicking and will celebrate its 200th anniversary in 2023. The composition therefore opens festively and energetically. The alto saxophone plays a recitative, the Gregorian "Cantantibus organis Caecilia virgo in corde suo soli domino decantabat" from the vespers of the feast day of Saint Caecilia, the patron saint of music. This is taken over by the full wood and soft brass group. After a brief, playful interlude, this chant is played by the full orchestra, like an organ, larded with circumambulations.St. Willibord was born in England but made the crossing to the Netherlands in 690 to preach the gospel as a missionary. This was far from harmless and he faced frequent uprisings. After his death he was buried in Echternach in Luxembourg. In this place he is commemorated to this day with the annual "Spring Procession" or "Dance Procession". This procession of Echternach went as follows until 1947: 3 steps forward, 2 steps backward. Hence we hear this procession back in a 5/8 measure: 3 + 2.After this procession, the Gregorian vesper of Sint Caecilia sounds one more time, leading the composition to a reprise of the opening: The jubilee Royal Fanfare Sint Willibord Heeswijk.
Estimated dispatch 7-14 working days
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£134.99Cleopatra - Thierry Deleruyelle
Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity's best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remains a mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises the Roman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra's femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love that Mark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third and last section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of the jealousy and ambition of Octavius, Julius Caesar's son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his own life. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History's most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directed by Philippe Rossignol, to mark its 90th anniversary.
Estimated dispatch 7-14 working days
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£95.00The Pageant of London - Frank Bridge
Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge's best known organ piece and including the chimes ofBig Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band 'legend' Timothy Reynish makes a fine alternative toHolst's two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and alsoby the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music.
Estimated dispatch 7-14 working days
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£123.40Cherubic Hymn of Ukraine - Yakiv Yatsynevych
Ukraine was invaded on February 24, 2022, and the world again became spectators to a conflict between unequal opponents. Once again we saw lies, injustice and brutality up close.I must admit that a feeling of powerlessness arose when experiencing this, an empty feeling of not being able to do anything useful.One early Monday morning, a few weeks into the conflict, I sat down to listen to Ukrainian music.I hardly knew any Ukrainian music, but I was familiar with the composer Mykola Leontovych, the man who composed "Carol of the Bells". He was a member of the Ukrainian liberation movement, and he was assassinated by a Soviet agent in 1921.One of his contemporary colleagues was the composer, teacher and conductor Yakiv Yatsynevych (1869-1945). He wrote church music and choral music, and I became very taken by his Hymn to the Cherubim, a part of the Orthodox Mass.I could not find any sheet music for this. But I have listened to numerous choral recordings, and I have tried to notate the music as I believe the composer himself has done originally.I chose to do the arrangement for a solo group of 4 players. These players can be placed at a distance from the ensemble, maybe on a gallery or at the back of your concert hall.The arrangement was made for Brttum Brass for their participation in the Oslo Brass Festival in April 2022.The performance in the church this particular night was met with a long-lasting silence after the last note. The warm respect, the moving response and love we felt from the audience is a memory I will carry with me for a long time.In the lyrics to this psalm, one finds the phrase:Let us now lay aside all earthly cares- John Philip Hannevik - |
Estimated dispatch 7-14 working days
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£159.99
Fantasia Per La Vita E La Morte - Bert Appermont
The mystique surrounding life and death formed the starting point of this composition. I wanted to write a work without a story, mixed up in a kind of musical quest for a new world of sound, original rhythm sequences, melodies filled with suspenseand distinct orchestral tones.The indirect cause was the birth of my first child which took place during this time, followed by the death of a close family member. At such a moment you experience just how close life and death are to each other, anddespite one being the antithesis of the other, they are incredibly similar. Both radical events are passages into new worlds and have great emotional impact. Moreover, the work was commissioned by "New Life", an orchestra that lost one of itsmusician in a plane crash, which also led me to believe that this approach would be appropriate.I would prefer not to comment on which passages in the composition concern life (birth) and which refer to death. It seems to me that it is moreinteresting to question traditional conceptions and leave it open for the listener. If you think that a passage is about birth, and this idea then shifts, it is this that raises fascinating questions, on both a musical and metaphysical level.Music isin an indirect but incredibly persuasive way in which to express the endless striving and seeking of mankind. Music can even touch eternity, as it were, and give us the feeling that we can transcend death. This endless search (and also longing) canbe heard throughout the work; as much in the sound fields and accent shifts in the first part as in the enormous tension curves and compelling themes of the second part. The semi-tone functions in this way as a guide or something to hold on to,running through the whole work and upon which much of the musical material is based. Traces of profound love resound with quiet simplicity in the slow section's melodious solos, after which the work contemplates life and death one last time, musesupon joy and sadness, on the possibilities and limitations of people and on the why of all things.I would like to dedicate this work to my dearest daughter Paulientje, to Meterke and to Johan de Jong of the "New Life" orchestra. May it fare themwell, here or in another dimension...
Estimated dispatch 7-14 working days
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£134.99Cleopatra (Concert Band - Score and Parts) - Deleruyelle, Thierry
The Last Queen of Egypt. Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity's best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remains a mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises the Roman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra's femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love that Mark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third and last section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of the jealousy and ambition of Octavius, Julius Caesar's son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his own life. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History's most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directed by Philippe Rossignol, to mark its 90th anniversary. Duration: 10.00
Estimated dispatch 7-14 working days
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