Results
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£84.99Matreshka (Concert Band - Score and Parts)
For more than a hundred years, the matreshka dolls have been a traditional trademark of Russia. The story behind these dolls is that many years ago, a little Russian girl, Olga, got lost in a forest. When her older sister finally found her, she said, ?Let me hold you.? Next, their mother also arrived, and said, ?Let me hold you both.? Subsequently, the grandmother joined them, and said, ?Let me hold you all.? As a result of this story, these popular ?nesting dolls? came into being. The work Matreshka consists of originally-composed themes. The first theme, reminiscent of a Russian hymn, is followed by another theme in a typically Russian style. A slow passage forms the transition to the final, energetic movement ? this Russian troika in two-four time starts slowly and ends very exuberantly. A great piece of Russian exuberance that will delight any audience. 04:17
Estimated dispatch 7-14 working days
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£72.99NATURE'S WAY (BandQuest) - Schuller, Gunther
From the composer: "Nature's Way for intermediate level band was commissioned by BandQuest, a project initiated by the American Composers Forum. Their mission is for major composers of national reputation to write works of high quality that take into consideration the (still comparatively limited) levels of musical development--both technical and conceptual--typical of such ensembles. I eagerly accepted the commission and the challenges implied thereby--that is, to reign in my creative imagination to some extent and limit the technical/conceptual demands to a more moderate level than is to be found in my previous compositions for band. Nonetheless, since the process of rehearsing, studying and performing a work created specifically for the school student market is--and must be, in my view--primarily educational, it was very clear to me that my work would (and should) challenge the players at least to their top levels, and even a little beyond that. Thus Nature's Way in no way represents a compromise of my personal style, nor my long held concepts of form, continuity, texture, and instrumentation. I have known for a long time that young, inquisitive minds are eager to learn from new experiences, from previously never encountered challenges, that is to say, to be pushed--gently--to rise above their present levels of achievement. That's what education is all about."
Estimated dispatch 7-14 working days
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£39.95Barnaby Behaves Badly (Concert Band - Score and Parts) - Wiffin, Rob
This vivacious programme number was written for Barnaby (more often known as Barney), Simba's (see At The 'Splash' with Sim) predecessor in the composer's Golden Retriever succession. He was a very laid back and happy soul, not the brightest-ever retriever, but with the potential for a little mischief when the mood took him. It was written with the intention of being eminently playable so both the range and the technical demands are carefully controlled and the scoring is designed to make the music sound strong with a band of less experienced players.
Estimated dispatch 7-14 working days
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£7.95
Barnaby Behaves Badly (Concert Band - Score Only) - Wiffin, Rob
This vivacious programme number was written for Barnaby (more often known as Barney), Simba's (see At The 'Splash' with Sim) predecessor in the composer's Golden Retriever succession. He was a very laid back and happy soul, not the brightest-ever retriever, but with the potential for a little mischief when the mood took him. It was written with the intention of being eminently playable so both the range and the technical demands are carefully controlled and the scoring is designed to make the music sound strong with a band of less experienced players.
Estimated dispatch 7-14 working days
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£53.50Saxology (Saxophone Section Feature with Concert Band - Score and Parts) - Osterling, Eric
Looking for something to do with those three rows of saxophones staring at you day after day? Take a look at this swinging sax feature from Eric Osterling. This will work great on any concert, and just maybe they will practive a little bit more!
Estimated dispatch 7-14 working days
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£45.95Theme from The Moldau (Concert Band - Score and Parts) - Smetana, Bedrich - Kinyon, John
John Kinyon has another winner with this transcription of the symphonic masterpiece "The Moldau." A tribute to Bedrich Smetana's beloved river, this captivating piece describes the flowing and turmoil of water in musical terms. The parts are written well within the capabilities of young performers while keeping the essence of the original. This will add more than a little class to your next concert! Duration: 2.00
Estimated dispatch 7-14 working days
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£16.95Jeux D Enfants (Suite) (Concert Band - Score Only) - Bizet, Georges - Brand, Geoffrey
Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as "a little masterpiece." Each of the three included movements is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite
Estimated dispatch 7-14 working days
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£84.95
Jeux DEnfants (Suite) (Concert Band - Score and Parts) - Bizet, Georges - Brand, Geoffrey
Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as "a little masterpiece." Each of the three included movements is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite
Estimated dispatch 7-14 working days
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£186.20Ballet Dreams - Coby Lankester
The script for Ballet Dreams: A young ballerina is dancing for some time already in a ballet company. She is part of the Corps de Ballet but still hopes for better. When the company studies a new ballet she is granted a small solo part. This will be the fulfillment of a long cherished dream.On the day of the premiere she goes to the theatre in the early morning. As the solo performance is so near she feels very nervous and wonders whether everything will be all right that night. She starts making exercises with the orther girls. When the dancers leave she continues to exercise by herself and tries out her solo part. She does not do well and feels very tired. She sits down on a bench in the corner of the ballet room and thinks she needs some rest; so she lies down and falls asleep.She dreams she is standing in the ballet room, trying to rehearse her solo dance performance. But she does not succeed to dance as she wants and she gets more and more nervous. Suddenly she makes a wrong movement and falls down; her ankle is bruised and so she cannot dance at all.She is desperate and quite lonely because her dream goes up in smoke. She is now surrounded by a group of doctors, who examine her ankle, put on a bandage and tell her to rest. When the doctors disappear a gang of little devils come into the ballet room; they tease our poor dancer and threaten her with little arrows, while they keep dancing and stamping. The ballerina tries to get rid of the little monsters, but in vain. This looks like a real nightmare!All of a sudden the devils and the pain disappear. She tries to get up and awakes little by little. She now realizes it was only a bad dream. She feels relieved and goes to the dressing room in order to dress for the premiere performance. Her solo performance in the finale of the ballet is a real big success. Her most precious dream has been fulfilled, in spite of or thanks to the nightmare.
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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