Results
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£236.00Tartarin de Tarascon - Marcel Poot
In September 1925, on the occasion of the sixty-fifth birthday of their 'master', seven students of Paul Gilson gathered to form the first composers' collective in Belgian national music history. The members of Les Synthtistes (the Synthetists) are Ren Bernier, Francis de Bourguignon, Gaston Brenta, Tho Dejoncker, Marcel Poot, Maurice Schoemaker and Jules Strens. Their intent is twofold and both theoretical and practical. Les Synthtistes want to distinguish themselves as the 'Brussels seven' by breaking away from the prevailing late-romantic music of their time. Their theoretical aim is to synthesize the modern tendencies in music from 1925 onwards, to connect with the 'acquisitions of contemporary music' and to apply them within balanced and well-defined forms. Their practical goal is to make it easier to find a stage to perform their new symphonic music by uniting. In a period when there is no professional symphonic orchestra in Belgium, apart from the opera orchestra, they compose and transcribe their original symphonic works for wind band. They work together with Arthur Prevost and the Royal Band of the Belgian Guides which grew into a model instrumentation of 85 musicians during the interwar period. Thanks to Prevost and the Guides a unique collection of original, modern music for wind band by Les Synthtistes can be heard on the Brussels concert stages during the interwar period. Because only a few works of this unique, forgotten collection of 75 works were published, this unique canon remained largely unknown. Thanks to a historical study of sources by Luc Vertommen, these works for wind band are now, a century after their creation, made accessible and recorded for the first time.
Estimated dispatch 7-14 working days
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£95.995 Tantum Ergo - Anton Bruckner
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism.Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism.Hymns for four-part mixed choir a cappella (1846, St. Florian)No. 1 in E flat major (WAB 41/3): Quite SlowNo. 2 in C major (WAB 41/4): AndanteNo. 3 in B flat major (WAB 41/1): SlowNo. 4 in A flat major (WAB 41/2): SlowHymn for five-part (2 S, A, T, B) mixed choir and organNo. 5 in D major: SolemnlyThey are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C-minor BWV 582 - Johann Sebastian Bach
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord.
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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£73.50Within These Walls - Tatgenhorst
An exceptional band piece that utilizes music John wrote especially for the PBS production of "Within These Walls", which showcases the history of our Presidential residence during its 200th year. Originally scored and recorded by the U.S. Marine Band with strings, John later arranged the music for band only and it will be performed by the Marine Band on tour. This published arrangement is slightly simplified and shortened from that version. Sections of the piece represent various important time periods in the history of The White House. The very nature of this "time capsule" approach makes this number a wonderful tool for teaching musical style concepts. Challenging!
Estimated dispatch 7-14 working days
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£244.99
Zenith of Maya - Satoshi Yagisawa
By 200 B.C. the Mayan civilization was expansive, from the Yucatan Peninsula well into Central America. Their highly advanced technology still amazes us today, including their discovery of an accurate calendar derived from detailed astronomical observations and the use of the "0" in sophisticated mathematics.I. Royal ceremony and sacrifice of renewalThe first movement describes Mayan civilization at its zenith. An initial theme heralds admiration for a great king. A graceful choral then captures the magnificent setting of the Mayan world. After a folk melody for the populace, the agitated scene of a sacrificial ceremony is portrayed. The regal theme appears again in the coda, concluding in brilliance. This great civilization vanished in 10 A.D., leaving only remnants of a remarkably prosperous world. Thousands of ruins large and small remain locked in a dense world of jungle, with huge crumbled cities having lain forgotten for eight centuries.II. Glorious ruins still ariseII characterizes this civilization from glory, to destruction, to the present with its buried ruins. To begin, stone cities wait silently cloaked in jungle, steadfastly eluding discovery. As time passes slowly, the music reflects back to the glory of the Maya. Though wishing to turn back the hands of time for this incredible civilization, its fate and the gravity of its loss are carried forward in the profound silence of eternal loss. Finally, in the present, we marvel at the thousands of elegant remains, with a choral of praise for those with remarkable wisdom and strength, in a spectacular conclusion.(Satoshi Yagisawa)
Estimated dispatch 7-14 working days
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£94.99O Christmas Tree
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These 'living' trees, said to be the work of benign spirits, were brought into people's houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschtz from Leipzig was the first person to notate the song 'O Tannenbaum', the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.
Estimated dispatch 7-14 working days
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£35.50Triglav - Julius Fucik
Julius Fuc k (1872-1916) appreciated life in Sarajevo. First compositions were written, which soon made him become one of the leading representatives of his profession in Austria-Hungary. Among those works also figured his elaborate piece "Austria's Glory and Honor", which unfortunately remains kind of ill-fated up to now. Yet another area of activities, where Fu k was able to demonstrate his talents was to stage the symphony concerts introduced by him in Sarajevo. Late in fall of the year 1900 Fuc k's time had come, when the regiment deployed from Sarajevo to Budapest. He lived in that metropolis on the Danube for the next some ten years, and during that period most of hisworks were composed. At that time his popularity also grew from day to day. The first performances of his works met with general interest, and not only numerous officers most of them were friends of Fuc k attended these events, they rather were attractions for all ranks of the society. It should also not be overlooked that music publishers were anxious to secure almost each one of his works for their publishing company, and most of them were printed immediately after their premieres. In 1899 the "Laban March" was written as his Opus 44. It was dedicated to Major General Rudolf Laban of Vralje, commander of the 3d Mountain Brigade which was stationed in Nevesinje. The title of the march then changed to "Eiserne Brigade" ("Iron Brigade") until it finally became known as "Danubia". It was first printed as late as 1933 by Bohuslav Leopold (Edition Continental). Leopold was a musician in Fuc k's regimental band, and later a successful publisher. He succeeded in securing the best of Fuc k's works for his company. Sketches of "Triglav" date back to 1903. The title alludes to the highest mountain of the province of Slovenia, and this was probably an apt means in the eyes of the composer to demonstrate his "Slavonic patriotism".
Estimated dispatch 7-14 working days
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£69.99
Blockbuster Percussion - James Curnow
A vibrant and attentive Percussion section is crucial to the success of any concert band. However, the Percussionists play a supporting role so much of the time that it can be difficult to keep your best players excited about their music. One of the best ways to beat that problem is to program an occasional feature piece.James Curnow's BLOCKBUSTER PERCUSSION is just the arrangement you need when it's time to let the Percussion section "show off" a bit. Bold, exciting themes and a well-crafted rhythmic modal concept keep the parts interesting for all the players in the band. AND, audiences love the energy that only the Percussion section can deliver! Give everyone a treatby programming BLOCKBUSTER PERCUSSION soon!
Estimated dispatch 7-14 working days
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£129.99Aquarium - Johan de Meij
The Suite 'Aquarium' is Johan de Meij's third composition for symphonic band and features six tropical fishes, each of them represented by a motif, and surfacing as such in several guises. The composition consists of three movements of which the second and third merge uninterruptedly into each other. I) Allegretto grazioso (Neon Tetra, Electric Eel and Angelfish) II) Andante / Adagio (Sea Horse and Zebrafish) III) Finale: Allegro giocoso (Guppy & Co.) The Neon Tetra motif functions as a kind of 'Leitmotiv' and descibes the beautifully coloured, frisky fish: A number of variants have been derived from this theme and will also appear in the other movements.The Electric Eel in fact is not represented by a motif, but by a rhythm based on the restless electric pulses made audible in some aquaria. The Angel fish is represented by elegant cluster chords. In the second movement the Sea Horse emerges out of the water vegetation and starts a dialogue with the Zebrafish, which is represented by one melodic phrase in unison, getting more and more threatening by added parallel fifths and octaves. Simultaneously with the Sea Horse motif the Neon Tetra theme emerges, this time in 3/4 time and in Eb minor. The third movement starts with only two instruments (trumpet and xylophone), but as it is often the case with Guppies their number rapidly increases. Piccolo and Alto Saxophone introduce the Guppy Theme followed by several instrumental combinations. Every theme from the first movement 'swims by' once more, after which the principal motif leads us to a brilliant ending.
Estimated dispatch 7-14 working days
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