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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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£67.95Waltzing Matilda - Randy Navarre
This is the unofficial National Anthem of Australia. You hear it in movies, documentaries, and any time there is a mention of the land Down Under. It is a great song on its own, telling the story of the traveling migrant through the Outback. This is a very easy version that may be played along with the Grade 3 version by Randy Navarre (N300161). If you have an event to combine young musicians with a community or more advanced band, they may play together in this ideal composition. 1st trumpet's highest note is C. Only the 1st clarinets cross the break.
Estimated dispatch 7-14 working days
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£69.99
An Irish Lullaby - Stephen Bulla
What can be more charming than a comely Irish folk melody? This is music that allows the band to play in the rubato style, with much room for expression. Found in an old British publication and simply called "Irish Air," this endearing arrangement is a rhapsodic treatment that takes fragments of the melody and develops them into a large symphonic work. The freedom of tempi allows you to work with your band in a sensitively conducted way that only a beautiful piece like this will allow.There is always room on a concert program for at least one lush, melodic contrast piece. Perhaps this one is for you. It's so difficult to describe a thing of real beauty. Please listen tothe demo recording and hear it for yourself.
Estimated dispatch 7-14 working days
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£45.95
Court of the Noble Trumpeteers - Timothy Loest
This innovative trumpet feature gives you the unique option of using two groups of antiphonal trumpets set up on either side of the band. All instruments use just six notes in this excellent opener or trumpet feature for your next concert. The piece uses only two dynamic levels and helps you teach accents and staccatos. For added visual splendor, consider having your "trumpeteers" hang colorful pennants from their instruments. Very easy.
Estimated dispatch 7-14 working days
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£37.50Heroic Fanfare and March - Mike Hannickel
Perfect for that first festival experience or as a graduation processional/recessional, the regal quality of Heroic Fanfare and March fits the young wind ensemble to a T. Appropriate ranges and a stately tempo mean you will be able to prepare this majestic statement in a reasonable amount of time, even if, like so many young bands, you get only one or two rehearsals per week.
Estimated dispatch 7-14 working days
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£67.95Ever Forward, Ever Onward - Amy Webb
Ever Forward, Ever Onward is a wonderful piece written in concert B-flat and only uses notes within the scale. The clarinets do not go over the break. If students have been playing for at least a semester, this piece will be just challenging enough to make them want to work, but not so hard that they give up. The lines are interesting, too, no matter what instrument you can play. Students will love to play this and I hope you have fun. 1st trumpet's highest note is A.
Estimated dispatch 7-14 working days
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£54.99Chase Through The Midnight Forest - Darren W. Jenkins
Chase Through the Midnight Forest was written for the 2010 Chisholm Trail Junior High Area 5th Grade Band (which includes the bands from Arbor Creek, Madison Place, and Sunnyside Elementary Schools) in Olathe, Kansas. The piece is meant to create the suspense of a harrowing chase and pursuit through a deep, dark, and eerie forest at midnight, never quite sure who or what might be close behind. Friend or foe... the only thing that is for sure is that the chase is on... and stopping to look behind you could be the biggest mistake you ever make...
Estimated dispatch 7-14 working days
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£248.99Missa Brevis - Jacob de Haan
Missa Brevis, written for choir and wind band, was commissioned by the Conseil Dpartemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX'sbirth in guisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:1. clarinet choir (from Eb Clarinet to BassClarinet)2. clarinet choir + saxophones3. brass (flugelhorns, horns, euphoniums, bass section)4. brass (2 trumpets / 2 trombones)5. double reeds (optional + flute, optional + string bass)6. tutti7. all winds8. allbrassIn a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.Choral parts available separately.
Estimated dispatch 7-14 working days
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£42.50Island Getaway - Brian Monroe
A Latin-feel means you can use a lot of percussion players, all playing within grade level. Single parts for all instruments afford confidence and solidity to students. There are only a few divisi notes in clarinet, alto saxophone, and trumpet.
Estimated dispatch 7-14 working days
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£115.00Chambers of a Heart - Ralf Uhl
Faith, love, courage and hope are the greatest powers that are inherent in every human being. These powers originate from the human heart.Years ago, the composer stumbled across the story of a man who takes care of abandoned, terminally ill children: Mohamed Bzeek. His selfless actions not only touched me deeply, but also showed me how big the heart of every human being can be and how valuable the four powers of faith, love, courage and hope are. With Chambers of a Heart, a suite in four movements, I want to inspire everyone to rediscover and strengthen these powers in their own hearts. Mohamed Bzeeks words: You have to do it from your heart, really.
Estimated dispatch 7-14 working days
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