Results
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£96.00
Aria "Er Weidet Seine Herde" - Georg Friedrich Händel - Jean-François Michel
Estimated dispatch 10-14 working days
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£75.00Aria (from Suite Antique) (Flute Solo with Concert Band - Score and Parts) - Rutter, John - Noble, Paul
Suite Antique is a 1979 concertante work by John Rutter that is written for harpsichord, flute and string orchestra. Rutter composed the piece, in six movements, for a concert at which Bach's fifth Brandenburg concerto was to be performed, and so decided to write the piece for the same ensemble. This arrangement for Concert/Wind Band and Solo Flute adheres to the original presentation, but is expanded for a full band accompaniment to the solo flute. The harpsichord is optional, being cued elsewhere, but may be performed as in the original score by either harpsichord or an electronic keyboard with a similar setting. A jazz drumset is optionally included in the fourth (jazz waltz) movement, and other percussion discretely added in other movements. It is exciting to hear earlier musical forms brought into today's music appreciation, and this setting of a flute solo with band is especially refreshing for both soloist and band.
Estimated dispatch 7-14 working days
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£60.50Aria (de la Suite No.3) (Concert Band - Score and Parts) - Bach, Johann Sebastian - Bullock, Jack
One of Bach's most loved melodies, taken from Suite No.3 for String Orchestra is arranged in this sensitive setting without percussion. There are absolutely no technical concerns so you have the opportunity to make serious music with this emotional ballad.Duration: 3:15
Estimated dispatch 7-14 working days
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£49.95Cherubinos Aria (Flute Solo) (Concert Band - Score and Parts) - Mozart, Wolfgang Amadeus - Brand, Geoffrey
This 'Canzona' comes from Mozart's comic opera "The Marriage of Figaro," first performed in Vienna in 1786. Cherubino is a young page in the household of Count Almaviva, although the role is written for a soprano and usually cast for a singer with 'boyish' looks. The song, entitle "Voi che sapete" (Tell me fair ladies), is introduced in the opera as if written by Cherubino himself and is simply a diversion rather than of relevance to the plot. Although initial reaction to "The Marriage of Figaro" was somewhat lukewarm, it has of course established itself as one of the great comic operas, and this canzona became and 18th century "pop" song.
Estimated dispatch 7-14 working days
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£9.95
Cherubinos Aria (Flute Solo) (Concert Band - Score Only) - Mozart, Wolfgang Amadeus - Brand, Geoffrey
This 'Canzona' comes from Mozart's comic opera "The Marriage of Figaro," first performed in Vienna in 1786. Cherubino is a young page in the household of Count Almaviva, although the role is written for a soprano and usually cast for a singer with 'boyish' looks. The song, entitle "Voi che sapete" (Tell me fair ladies), is introduced in the opera as if written by Cherubino himself and is simply a diversion rather than of relevance to the plot. Although initial reaction to "The Marriage of Figaro" was somewhat lukewarm, it has of course established itself as one of the great comic operas, and this canzona became and 18th century "pop" song.
Estimated dispatch 7-14 working days
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£62.95Aria Cantabile (Concert Band - Score and Parts) - Erickson, Frank
Here is a marvelously moving, yet highly sophisticated offering of tonal colors. Teach line and structure. Highly recommended for concert or contest. Duration: 4.00
Estimated dispatch 7-14 working days
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£104.99Aria e Danza (Alto Saxophone Solo with Concert Band - Score and Parts) - Schoonenbeek, Kees
Duration: 7:00
Estimated dispatch 7-14 working days
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£116.40Habanera From 'Carmen' - Georges Bizet
Carmen - The most performed opera in the world Since its premiere in 1875, Carmen has become the most performed opera worldwide. The Habanera - The iconic moment The most famous aria from this opera is the Habanera. In this aria, Carmen compares love - and herself - to an elusive, fluttering bird (l'amour est un oiseau rebelle). About the arrangement This arrangement can be performed with or without choir. The performance requires a light, refined touch. Conductors should pay special attention to ensuring that the ostinato (originally written for the cellos) is played with utmost precision, convincingly, and as delicately as possible.
Estimated dispatch 7-14 working days
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£120.40Xenon - Filippo Ledda
Elemento chimico della Tavola Periodica degli Elementi, lo Xenon fa parte del gruppo dei Gas Nobili. incolore, inodore e decisamente pi pesante dell'aria. In un tubo riempito di gas, emette una luce molto intensa quando eccitato con una scarica elettrica, per cui viene utilizzato per la realizzazione di lampade e dispositivi luminosi. Il brano, diviso in sette sezioni che si susseguono senza soluzione di continuit, descrive un viaggio immaginario che percorre diametralmente l'interno di un atomo di xenon. La prima sezione (On the Edge of Nowhere), partendo dal presupposto che l'atomo una struttura al 99,9% vuota, descrive una realt non solo impercepibile dall'occhio umano ma anche non facilmente razionalizzabile, cos la sottile linea che separa il "nulla" dalla materia visibile rappresentata da un assolo di sax contralto. La seconda e la sesta sezione (Electrons) descrivono la nuvola di elettroni che turbina vorticosamente attorno al nucleo dell'atomo. I temi musicali qui si rincorrono e si scontrano; la ritmica delle percussioni, perlopi metalliche, simula questo moto perpetuo. La terza e la quinta sezione (Luminescence) descrivono la zona di quiete tra gli elettroni e il nucleo. Tutto avvolto da una luce bianca, simile a quella del sole; un momento di stasi, ma solo apparente: la calma durer poco. La sezione centrale (Core) il nucleo del brano. La parte pi interna dell'atomo anche la pi densa: percussioni martellanti, riff solidi, armonie sature, vogliono rappresentare la sua natura stabile e dinamica al tempo stesso. Infine, l'ultima sezione (On the Edge of Everything) rappresenta la conclusione del viaggio: l'uscita al di fuori dall'atomo di xenon con la consapevolezza, stavolta, che la materia visibile soltanto la miliardesima parte della realt, tutto il resto energia. L'assolo di sax, che riappare nelle ultime battute del brano, assume ora un diverso significato: cos' "nulla" e cos' "tutto"? La fine di questo viaggio immaginario, veramente una fine? Xenon la terza composizione della serie che l'autore sta dedicando ai Gas Nobili.
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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