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£18.00Classical Legend (from Songs for Young People) (Concert Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Schaeffer, Don
Tchaikovsky's well known classic from Songs for Young People, Opus 54, No.5 is carefully arranged to suit the abilities of beginning players. Both clarinet parts are below the break, and the simplistic scoring and harmonization are true to the spirit of the original work.
Estimated delivery 7-14 working days
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£38.70A Classical Suite (Flexible Ensemble - Score and Parts) - Fernie, Alan
4 Part Flexible Ensemble and PercussionIncludes:OvertureMinuetIntermezzoFinale
Estimated delivery 7-14 working days
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£49.50 -
£38.70
The Famous Classical Book (Flexible Ensemble - Score and Parts)
4 Part Flexible Ensemble and PercussionIncludes:Hungarian Dance No.5Largo from the New World SymphonyIn the Hall of the Mountain KingCan-Can from Orpheus in the Underworld
Estimated delivery 7-14 working days
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£91.99
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£9.95Classical Gas - By Mason Williams / arr. Ralph Ford
Composed and performed by Mason Williams in the late '60s and more recently by Tommy Emmanuel, this classic rock tune is sure to be well received by the performers and audiences alike. Choose to feature your outstanding guitarist or mallet percussionist on the solo with the rousing band accompaniment. There are a variety of solo options at different difficulty levels to make this revered chart accessible to a wide variety of soloists. It's a Gas! (3:15) This title is available in SmartMusic.
Estimated delivery 3-5 days
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£6.25Two Classical Favorites - Arr. James Swearingen
One of the music world's most popular composers, James Swearingen, chooses the theme from Brahms's FIRST SYMPHONY and Beethoven's ODE TO JOY as the musical content for this most satisfying presentation. Mr. Swearingen's gift for lyric flow on top of satisfying harmonic structuring is thoroughly evident. From an educational and programming standpoint, it's an important new work! (duration 1:57)
Estimated delivery 3-5 days
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£94.99
Operatica - James L. Hosay
If you seek truly dramatic music, look to opera. Opera has been enormously influential on Classical, Popular, and Film and Television music over the years. James L. Hosay's new intermediate level piece, OPERATICA, incorporates the important elements of Opera and Classical music to bring exhilarating drama to the concert band stage. Style and technical considerations make this a rich learning experience for the band. Add in the dimension of music history by studying Opera and Classical music, and you have a wonderful teaching tool! The grand theme explores a multitude of colors as it twists and turns its way through opera-style development and variation. Whether for formal, festival,or spring concert use, you will find this to be a thrilling addition to your library.Opulent!
Estimated delivery 7-14 working days
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£104.00Judgement Day - Peter Knockaert
The last decades we humans have witnessed a significant number of disturbing developments. If we look at the direct and persistent destructive influence of humans on nature: air and water quality are reducing, soils are depleting, crops are short of pollinators, coasts are less protected from storms, deforestation, the degradation of land, loss of biodiversity and pollution.In stark contrast we find the intelligence and boundless creativity of humans: what about all the high technological advancements? What lies ahead in the realm of Artificial Intelligence? Will we let machines make human decisions? What ethical issues arise there?This composition reflects the desperation and urgency of the human need for action. The music draws inspiration from the brutal natural forces that ravage our world as a direct consequence of human failure and selfishness.Are we heading towards a 'Judgment Day'? Or will humanity find a way to reverse negative trends towards a more livable, peaceful, and joyful environment for humans, animals, and nature?To underscore this message, composer Peter Knockaert opted for a highly classical idiom that has been used by many composers in classical music: the 'Dies Irae'. Traditionally, the Dies Irae is the third part of a requiem (funeral mass). The text used in 'Judgment Day' (for optional choir) is coming from the original Latin text.
Estimated delivery 7-14 working days
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£344.30Goldberg 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 delivery 7-14 working days
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