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£211.80Karneval i Paris - Johan S. Svendsen
Johan Svendsen (1840-1911) composed "Carnival in Paris" in 1872, inspired by the energy and vibrancy of the Parisian carnival celebrations. The piece showcases a variety of moods and orchestral colours, ranging from jubilant and playful sections to more lyrical and elegant passages. It is a lively and colourful work that reflects Svendsen's skill in orchestration and his ability to capture vivid, festive atmospheres in music. In "Carnival in Paris", his Nordic musical roots meet the cosmopolitan influences he encountered while living and working in major European cities. The work has become one of Svendsen's most popular and is frequently performed in concert halls and festivals. About My Transcriptions for Wind Bands Ever since I started playing the clarinet at 8 or 9 years old in the school band "Blveisene" in my hometown of Gjvik, playing transcriptions of orchestral music has been a natural part of the repertoire. In regional bands, Norway's National Youth Band, and during my 10 years in a Military band, I played many such transcriptions. These transcriptions often included handwritten parts, masterfully crafted by colleagues in a time when music notation software didn't exist. Similarly, the scores were often incomplete, typically featuring just a solo clarinet part and condensed score in Bb. The transcriptions also contained parts for instruments like the Eb cornet and multiple tenor horns, but no saxophones, which made them less suitable for modern wind bands. The rise of many skilled Concert Bands and the increasing demands for scores and accessibility made me realize that someone needed to preserve this tradition. The reason I've transcribed these works is to ensure that you can play or conduct a repertoire that I believe has a rightful place in Norwegian Wind Band tradition. These transcriptions are my contribution to preserving some of the unique works in Norwegian music literature. Creating a transcription is a complex task, and I believe the score of "Carnival in Paris" is one of the most intricate I've undertaken. The first part of the process involves entering the entire orchestral score into music notation software. This is time-consuming and requires meticulous work. The next step is to check several editions to see if there are any discrepancies. Mistakes are often found in orchestral material, which can lead to further errors in the transcription. After that, I listen to many different recordings while following along with the score, paying attention to how different conductors emphasize balance and timbre. Gradually, I begin to note down passages I believe will work well for wind bands. One particular challenge in this piece is that the woodwinds and strings operate in the same register. In the original, the tonal difference between the strings and winds helps to clarify the individual musical lines. In the transcription, I've tried to address this by separating the lines, for example through octave adjustments, and highlighting them without compromising other aspects. I've also used some mallet percussion to broaden the tonal palette. There are countless decisions to be made to create a product that will hopefully allow future generations of wind band musicians to play this repertoire. - Stig Nordhagen -
Estimated dispatch 7-14 working days
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£109.99James Bond 007
In this selection of well-known James Bond melodies, arranger Johan de Meij has availed himself of the following themes successively: All Time High (from Octopussy, Roger Moore's last role as secret agent 007),James Bond Theme (from the film Dr. No), For your eyes only and Goldfinger (from the same movie, starring Sean Connery). The most important musical contributor to the James Bond movies has been composerJohn Barry (1933 2011). Apart from the above-mentioned themes of Goldfinger and Octopussy, he has also added to his name the themes of Thunderball, From Russia with Love, Moonraker and Diamonds areForever. He also wrote the music for other famous films such as The Deep, Midnight Cowboy, Born Free and Out of Africa.
Estimated dispatch 7-14 working days
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£74.99
Goodnight Saigon - Billy Joel
Billy Joel began piano lessons when he was only 4 years old. At the age of 13 he discovered rock n roll and went on to produce countless hits in both rock and gentler styles. With this arrangement by Larry Foster De Haske has added on of Joel's most beautiful ballads to the concert band repertoire.
Estimated dispatch 7-14 working days
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£98.99From the Eye of the Storm - Shabazz
Mississippi composer, Ayatey Shabazz is a survivor of hurricane Katrina who lost both his home and the school where he taught to the storm. Soon after the storm was over Shabazz composed this stimulating and descriptive composition that explores the wide range of events and emotions he experienced during the tragic hurricane. Full of remarkable music that is sure to challenge your students, it is also a superior programming choice for better bands! Very highly recommended!
Estimated dispatch 7-14 working days
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£74.99
Club Paradiso - Sven Van Calster
Club Paradiso is a work by Sven Van Calster, written in his well-known, approachable style. He composed this work in the hotel of the same name during a holiday in Alanya, Turkey. He paid special attention to an even distribution of the most enjoyable passages amongst all the parts of the orchestra, and also took care of the necessary duplications so that most orchestras are able to play the piece.
Estimated dispatch 7-14 working days
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£82.50See Jack Slide - Robert E. Foster
This original trombone feature, a "smear" for trombones, was written in memory of C. Jack McCurley, a young, energetic, fun-loving trombone player who lost his life in an accident. He was a member of his middle school band in Jefferson City, Missouri, and his fellow students and teachers commissioned this work as a memorial to him. But they wanted a happy piece because he was a happy person.
Estimated dispatch 7-14 working days
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£82.50Tiger: The Shadow Hunter - Randall D. Standridge
Commissioned by the Maynard Music Association for the Fowler School Band (Massachusetts), Kevin Zozik, conductor. Tigers are among the most majestic and fearsome creatures in the world - beautiful, graceful, deadly. This tribute to these wonders of nature incorporates Asian musical influences from the various locales where tigers are found. The mysterious opening hints at the hidden presence of the tiger as he stalks his prey; then the music abruptly takes off as he suddenly springs to the attack and the chase begins. The cat-and-mouse chase continues until the definitive and inevitable finish.
Estimated dispatch 7-14 working days
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£84.99Os Justi - Anton Bruckner
Anton Bruckner is probably best known today as a symphonist however he was also a significant composer of religious works, motets and masses, and the composer of the great Te Deum. These choral works portray equally as much of Anton Bruckner's power as his symphonies. With his unique gift for unlocking the secret and beauty of choir singing he was a true master in this genre. This arrangement for concert band by Thomas Doss retains the character and homogeneity of the original choral work and is a stunning addition to the concert band repertoire.
Estimated dispatch 7-14 working days
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£274.99Symphony No. 2: States Of Mind, Opus 87 - Teo Aparicio-Barberán
I- Logos (reason)II- Pathos (emotion)III- Ethos (credibility)The ancient Greeks believed that music shaped the character of man. In Egyptian temples, music was an essential part of the magical rites to alter the course of nature or to treat illness.And today we know that sound can actually alter matter. The secret of music lies in harmony and mathematics, as many great musicians and experts have always known.One of the most important qualities of music is that it enables the listener to focushis attention inwards instead of on what is around him. It is indisputable that music can inspire emotion. Music leads us into a universe of emotions that are difficult to put into words. In short, music reaches into corners of our soul and thoughtsthat words cannot reach and makes it possible to more clearly describe these different States of mind.The composer of this symphony also believes that each "musical argument" must be constructed so that it will induce the desired reaction in thelistener.Music: more than wordsIn recent times, most orchestral symphonies have been based on a story, a text or something similar so that their composition must be structured accordingly.The intention of this work by Teo Aparicio-Barbern is quitedifferent. The composer describes the three elements of the argument as the only formal structure of the work. Since certain philosophers in world history were able to subdivide grammatical argument, why shouldnt that also be possible for the musicalargument?Since ancient times the power of the spoken word has captivated mankind. How can an argument move people and mobilise the masses? Where does the power of words come from today? The answer lays not so much in what people say but in how theysay it.Rhetoric is one of the oldest humanist disciplines in Western civilisation. Aristotle, in the 4th century BC, called it the art of persuasion. Indeed, the terms rhetoric and persuasion are mutually interchangeable.More than 2000 years agoAristotle structured his rhetoric according to the following three elements: the logos, the pathos and the ethos.Logos (words, reason) is the reasoning that gives freedom to the structure of the text by expressing what one wishes to say usingspecialist terms. With logos we create arguments to receive public approval and to defend our ideas.Pathos, the second element, refers to the effective use of public psychology. Pathos can be considered as the capacity to induce the desired emotionalresponse in the public, by creating an emotional connection with the public so that they accept our message.The third element, ethos (credibility), refers to the character of the speaker and is perhaps the most important of the three elements.Aristotle based his concept of ethos upon his belief that truth and justice will always have the upper hand over anger. He believed that what was true and good was easier to prove and was more persuasive.This second orchestral symphony from thecomposer from Enguera follows these three parameters of the argument according to Aristotle. Each movement tries to summon a different state of mind in the listener so that the message itself can be better understood and appreciated. Apart from thesethree general concepts the music is only structured, as Claude Debussy would say, in a "formative way".The first movement, logos, is based on a scherzo melody that undergoes various changes in rhythm and harmony. The arguments are presented by meansof conventional techniques of composition. The second movement, pathos, is characterised by suggestions of sound. It is subdivided into two large parts. The first part is based on a five seven sequence with five sounds that are repeated in differentenvironments, structures and dynamics. The second part, which is largely tonal, brings out more directly the emotional overtones that each argument must have. The third movement, ethos, is a faithful rendition of the composers personality. In thislast part, clear rhythmic sequences stand out, there are large dynamic contrasts and lots of tone variation. In addition, and this is quite in keeping with the composers earlier work, the harmony in States of Mind is handled in a manner that is bothoriginal and efficient, as a result of which Aparicio-Barberns message is well understood by the listener.This second symphony by Teo Aparicio-Barbern is devoted to "my dear Henrie Adams, a guiding light in this eternally dark musical world. Thankyou for everything."
Estimated dispatch 7-14 working days
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£113.30
Rumanian Folk Dances - Béla Bartók
Bla Bartk (1888 - 1945) showed from the beginning of his career an interest in popular music. He began studying music at the age of five and eventually focused on composition and piano. He collected a lot of popular songs, especially during his studies in Hungary, but also music from Romania and Slovakia. This had a lot of influence on his style. In his compositions, Bartk uses many Hungarian popular themes and rhythms, and even his own original works always refer to the same rhythmic and melodic folk character. At the beginning of the twentieth century, Bartk detached himself from romanticism and began to delineate his style on harmonic procedures based on diminished and augmented intervals, on bitonality, and on marked percussiveness, characteristics that are at the core of popular music.The Romanian Dances are a collection of seven folk dances, originally composed for piano (1915, the first six) and then transcribed for a small symphonic orchestra (1917). Of purely modal language, like almost all Bartk's music, each dance comes from a different area of Romania (Stick Dance, Sash Dance, In One Spot, Horn Dance, Romanian Polka, Fast Dance of Belnyes, and Fast Dance of Nygra).
Estimated dispatch 7-14 working days
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