Results
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£64.95PURCELL VARIANTS (Advanced Concert Band) - Meechan, Peter
Purcell Variants is based on Purcell's Queen Mary's Funeral Music, which consists of four canzonas, two elegies and an anthem. The first movement begins by sounding some of Purcell's original music in the trombones and horns, underpinned by a timpani roll with the woodwind articulating the beginnings and endings of the phrases. This leads into a cadenza for trumpet and alto saxophone before the movement heads in different directions, leading us to its mysterious end, where the original music is sounded this time in the 'stabs' of the clarinets and alto saxophone. Originally composed for the funeral of Queen Mary in 1695, Purcell's original funeral music was used later that same year for Purcell's own funeral - he died aged only 34. The second movement is an elegy, inspired by this story. After an introduction (a disjointed last post), the main melody of the movement is introduced by the solo euphonium, with other solo roles for flute, oboe and alto saxophone. This is then taken over by the trumpets who lead us into the middle section of the movement. This is a quasi funeral march, inspired by the image of Purcell's coffin being taken to its final resting point. The main melody returns in the flute, oboe and alto saxophone, this time more elaborated. The movement ends with a snare drum fading away - perhaps a metaphor. The Finale is a fast and furious movement combining thematic material from the two previous movements with new rhythmical ideas. This takes us through to the final passage - the triumphant return of Purcell's original theme. Duration: 13.00
Estimated dispatch 7-14 working days
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£204.99Storia Eroica (Concert Band - Score and Parts) - Waignein, Andre
This composition was commissioned by the "Municipal Brass Band of Luxembourg-Bonnevoie". It was premiered in presence of the Grand-Duke Heir Henri on January 24, 1998 with this orchestra, and with the composer as director. This work is a musical evocation describing this magnificent Luxembourgian region and her inhabitants. The overture evokes the serenity met in this region. An orchestrale development, as rhythmic as sound, propels the orchestra in a "military" atmosphere putting in evidence all the registers of the orchestra. This tension is maintained until the general explosion of the whole. One cantilena appears in all the innocence. Gradually, the orchestration suppresses, until the exhaustion. The passage which follows represents the tempestuous events which took place through ages. A spectacular cadence, by the clarinet or by the soprano saxophone, terminates this disorder. An ample and lyric theme reflects the generosity which always played an important role. Then, having found some of initial themes, work ends in an atmosphere of enjoyment, developed in rich and eclectic one variety which proves the sphere of influence of the sound colour at Andr Waignein.Duration: 14:00
Estimated dispatch 7-14 working days
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£118.99Princess Mononoke, Medley - Joe Hisaishi
Series: New Sounds in Brass (NSB); Duration: approx.8'50"; Composed by Joe Hisaishi; Arranged by Takashi Hoshide. Arranger Takashi Hoshide says, "I have selected beautiful melodies from the soundtrack of 'Princess Mononoke' (1997, directed by Hayao Miyazaki) and arranged them into a medley. What can be said about these songs as a whole is that they combine a grand continental scale with the delicacy that reflects Japanese emotions. Since there are no upbeat songs in this selection, I had to work hard on the arrangement, but this allowed for creating contrasts and transitions between each scene in the performance. 'Ashitaka Sekki (English title: The Legend of Ashitaka)' - 'Sekki' means a story that is not recorded but passed down orally. In this anime, this can be considered a sub-main theme. The song starts with a feeling that the story is about to begin and, once the theme kicks in, aim for a grand performance to convey its scale. 'Encounter' - This is the music that plays during the scene where the protagonist Ashitaka meets San. Interestingly, the motif of the main theme 'Princess Mononoke' is used in this melody. Here, let's pursue the shifts in the timbre of individual phrases, creating a beautiful and aesthetic soundscape. 'Princess Mononoke' - This is the main title of the anime. The melody line is carried by horns and trumpets."
Estimated dispatch 7-14 working days
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£159.99Guardian Angels - Kevin Houben
Guardian Angels gives a musical expression to the legend of Reverend Louis Henri Bhler referring to the use of Psalm 34.North-west Veluwe and in particular Oldebroek (The Netherlands) has a very rich religious tradition which is demonstrated by its monumental churches. They tell the story of a stirring history in which Reverend Bhler played a crucial role. Inspired by his arrival as a pastor in 1870 in the neighbouring Oosterwolde, two big religious communities came into existence with their characteristic churches but this rivalry also resulted in great social unrest.This composition reflects on this striking personality and in particular on the story of the Angel Guard.'One evening Reverend Bhler has given a sermon in Oldebroek and he walks over the Church path through the pastures to Oosterwolde. On this dark and stormy evening Bhler's opponents are waiting for the pastor in ambush. They want to drown him in a watercourse near the Church path but abandon their plan because Bhler is accompanied by two men. The next day it comes to an encounter between Bhler and his opponents. They repent their, fortunately unexecuted , plan. Bhler firmly believes that on the previous night he walked alone over the Church path, and was not accompanied by two men. It was concluded that it must have been the angels who had protected Bhler.'Psalm 34 is central to this composition and this because of its powerful melody but also because the lyrics of verse 4 of the rhymed version fit in well with the special legend of Reverend Bhler:The Lord's angel gathered round himAn invincible heavenly guard,Who tries God's will, around himSo he's well guard(ed)A second melodious and harmonic cell is a musical transformation of the name 'Bhler'. This cell is varied in major and minor third chords and sometimes used as the main idea or apotheosis, but also serves as an accompanying cell or as a bridge between other melodic and rhythmic constructions.The composition was made possible by contributions of: Mr Evert van de Poll, owner of the Van Gelder Groep, Het Prins Bernhard Cultuurfonds Gelderland en Het Feteris Oosterbaan Fonds.
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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£59.80Alte Kameraden - Carl Teike
It is the greatest tragedy in the life of a young composer if he happens to write his most successful piece at the beginning of his musical career. This holds true for Carl Teike, as the unsurpassed success at the beginning of his musical life was his march "Old Comrades". It is a sparkling piece that may well be labeled to be the German "march of marches". Carl Teike was born on Feb. 05, 1864 in Altdamm. After his parents had moved to Stettin, he had early contacts with military music as a youngster. The enthusiasm for this kind of music never left him throughout his life. He began a musical apprenticeship with City Music Director Bttcher in Wollin and already played in the spa orchestra of Bad Misdroy, which Bttcher conducted. Upon completing his apprenticeship, he enlisted as a volunteer in the band of the (5th Wrttemberg) King Karl Grenadiers No. 123 in Ulm. The musical and military environment there proved to be ideal for the ambitious young musician, who hoped to eventually study band music at the University of Music in Berlin. Above all, his military superior, bandmaster Julius Schreck supported young Teike wherever he could. Unfortunately the time in Ulm took a very unhappy turn, as Schreck's successor was extremely resentful towards Teike, and musical support was replaced by sheer harassment. On account of this, Teike retired from the military towards the end of 1889. Short employments in Ravensburg and Ulm evidently did not suit Teike, who was of northern German descent. This is why he applied for the Royal Police Force in Potsdam. Teike was accepted and entered service in 1895. The royal capital of the Hohenzollerns obviously stirred Teike to write a number of brilliant marches. He even became known abroad as the "musical policeman". Unfortunately he contracted a severe pneumonia while on duty, which eventually forced him to retire from the Royal Police Force in Potsdam. On February 01, 1909 he and his family moved to the prosperous provincial city of Landsberg on the Warthe (which is located east of Berlin in present-day Poland). There, Count Clairon d'Haussonville proved to be an understanding superior who paved the way for modest Carl Teike to continue composing, as his creativity had not suffered from this move. The disease which he had caught in Potsdam evidently was more severe than he was inclined to accept. In spring 1922, his state of health became worse, and in May of that year he passed away. Much too early - as many people felt. Teike's marches constitute an enrichment of the German concert march, as he never composed any street marches. Clear structures, musical ingenuity and a multitude of tone colors distinguish his works and shape them into something really new. It is this type of the march in particular that became the bedrock of the universal appeal of the German march. Even today Teike's marches stand unrivaled for musical quality and content - and they never are aggressive. Toward the end of his tour of duty in Ulm, Teike handed a new march to his superior, which, at the time, did not have a title yet. He in turn told Teike to "put it in a stove and burn it". As we know today, this was a classic misappraisal, as Teike subsequently named his march "Old Comrades" in view of his impending retirement. We do not even need to discuss the acceptance the march has met and still meets all over the world, as "Old Comrades" simply always has been a march of universal appeal. In his new arrangement, Siegfried Rundel did not change the essence of Teike's music, he rather sensitively adapted it to modern musical practice and to the instrumentation of the symphonic band on the basis of his deep respect for the works of Carl Teike.
Estimated dispatch 7-14 working days
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£137.99Odyssee - Jan Bosveld
The Odyssee tells the story of Odysseus, the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The "Odyssey" follows the "Iliad", the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic, but a story about perseverance, loyalty, adventure, and the survival instinct of its ingenious hero. In The Odyssey, Homer describes howOdysseus, the king of Ithaca, had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years, his wife, Penelope, had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth, she played a trick: "As soon as I have finished weaving this shroud for my father-in-law, Laertes, I will choose one of you to become my husband", she promisedthem. But during the night, she secretly loosened what she had woven during the day, prolonging the time until Odysseus would finally return. After twenty long years, when he finally stood at the door, she wondered: Is this really my husband? Ishe an imposter? Cunningly, she asked him to move the bed, because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife, his Penelope! Nearly threethousands years later, the loyalty and strength of this character, and all the dangerous adventures that Odysseus survived thanks to courage and intelligence, still moves us today. Odyssee by Jan Bosveld is not just an adventure story, butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm, stirring theme describing our hero, Odysseus, in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy, perseverant, and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife, as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn, plaintive part that follows, we can imagine Penelope feeling lonely, sitting in the womens room with her servants.One of the girls plays the harp, but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe, who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes, he forces Circe to lift the spell. The piece ends the same way as it began, with an animated theme: Odysseus is still the same, undefeated and not to be taken lighty!
Estimated dispatch 7-14 working days
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£204.99Storia Eroica - AndrĂ© Waignein
Andr Waignein received order of this composition of the "Municipal Brass Band of Luxembourg-Bonnevoie". It is in the presence of the Grand-Duke Heir Henri that took place first interpretation on January 24, 1998 with this orchestra, and with the composer as director.This work is a musical evocation describing this magnificent Luxembourgian region and her inhabitants.The overture evokes the serenity met in this region. An orchestrale development, as rhythmic as sound, propels the orchestra in a "military" atmosphere putting in evidence all the registers of the orchestra. This tension is maintained until the general explosion of the whole. One cantilena appears in all theinnocence. Gradually, the orchestration suppresses, until the exhaustion. The passage which follows represents the tempestuous events which took place through ages. A spectacular cadence, by the clarinet or by the soprano saxophone, terminates this desorder.An ample and lyric theme reflects the generosity which always played an important role. Then, having found some of initial themes, work ends in an atmosphere of enjoyment, developed in rich and eclectic one variety which proves the sphere of influence of the sound colour at Andr Waignein.
Estimated dispatch 7-14 working days
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£137.99Oregon - Jacob de Haan
This fantasy tells the story of Oregon, one of America's north-western states. Traveling by train on the Northern Pacific Railroad, the listener is taken through the fascinating Oregon landscape. Indians, cowboys, golddiggers and hooded wagons will file past on this adventurous journey. The piece has some similarities with a soundtrack of a movie. Various melodies, which could be the main themes of a movie, pass the review.The piece begins in a slow movement, introducing the first theme in minor. Then we hear in the following fast movement the trombones imitate the train, whistling the steam-flute. We hear the characteristic minor theme again, but now in different variants(also in major). The rythmic structure of "western" stile and rock succeed each other. This is leading to the slow movement, where the signals of horns and trumpets introduce a wonderful vocal melody. After this characteristic melody, the fast movement appears shortly again, the trombones whistling the steam-flute again (now in major). We hear also some musical elements, that plays a part in the following Presto. Barchanges, jazzy chords, interesting rhytmic patterns (with bongo) and an original theme are the characteristics of this Presto. After this, the horns announce the last section of the piece. Interesting is the fact that we hear in this Allegro section a variant of the vocal melody in the slow movement. Also the Presto theme returns shortly, followed by the Allargando, which is a grand characteristic end of a soundtrack. The movie of our travelling fantasy has come to an end.
Estimated dispatch 7-14 working days
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£148.99Nepotism (Movement II from Symphony No.1, The Borgias) (Concert Band - Score and Parts) - Schwarz, Otto M.
A sinister legend hangs over the Borgia family, a legend of corruption, abuse of power, orgies, sex and murder. These rumours proliferated especially during the papacy of Alexander VI, a descendant of the family, who was even called the Antichrist. On his death, contemporary witnesses reported that the devil himself prowled around the death chamber and a black dog run along the corridors of the Vatican as his emissary. One might say that this Borgia pope, who ruled together with his family with the greatest brutality, became demonised. Unscrupulousness, poison-toting, incest and other malice are to this day the hallmarks of this pontiffNepotism: Rodrigo Borgia was elected Pope on 11 August 1492. From the very start, the new pope was prepared to use any means to eliminate his opponents, either through the infamous Borgia poison or by excommunication and execution. His son Cesare, who wanted little to do with the church, was appointed cardinal against his will. Alessandro Farnese, broth of Giulia Farnese, the Pope's mistress, also became a cardinal. Numerous Spaniards were brought into the country and were appointed to ecclesiastical posts. This infuriated the opponents of Alexander VI. The Dominican Girolamo Savonarola from Florence demanded the removal of the Pope. He was tortured and banned. Giuliano della Rovere wanted to convene councils to depose the Pope, which Alexander managed to prevent through artful political manoeuvrings. Through great brutality, brilliant political skill and power games, this pope was able to achieve his goal of leaving for his children a great legacy. Alexander VI constantly changed his allies and always acted unscrupulously to improve his financial situation and expand his sphere of influence. At the centre of the second movement of this work is the medieval hymn Dies Irae (Day of Wrath), which acts as a warning in the background condemning the Pope's actions.Duration: 9.15
Estimated dispatch 7-14 working days
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