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£193.20CASTRVM - Lionel Beltrán-Cecilia
CASTRVM is a symphonic episode inspired by four of the main civilizations that have coexisted over time in Ulldecona's Castle. With its melodies and sound effects, the composer tries to transport the listener through a trip to four uninterrupted movements, from the beginnings of this small settlement, creating a natural atmosphere recreated by the voice and the singing of birds to take us into the history with the first inhabitants, the Iberians, giving strength to the introduction of the composition, to move on to the time of the Andalusians, which with a melody in the form of a dance marked by percussion will transport us to take a walk in the surroundings of its circular tower. Next, and with strength, we arrive at the medieval and Christian period, marked in the score by the brass instruments, in this fragment we find moments that take us into the church of "Santa Mara de los ngeles", with melodies that evoke resonance and pomposity, continuing until we find the immense square tower, symbol of the fortress and homage, finally used as a prison and arsenal of those times. Then, there is a small slow march that will move us to some measures of strong stridency to finish with the whole section of low brass having its great moment of prominence, down to we reach the last part, Qna, a name that is recited during the musical piece and one of the names given in the past to the area that could be seen from the castle, where the change of location of the new town is recreated leaving the castle site, but always looking at it with respect and admiration as at the beginning of what is now the current Ulldecona, in this part, the composer plays a bit with a very well-known and significant melody for the inhabitants of Ulldecona, the "Jota Vieja", first making a reflex effect of all its melody and then only with the first six notes of this one, which builds a bridge until reaching the march and, later, the grand finale of this symphonic episode. The work was commissioned by Ulldecona Town Council and the Ulldecona Music Band, led by its conductor Joan Nadal i Girona, to commemorate the 800th anniversary of the donation of the Town Charter of Ulldecona "the old" (1222-2022), as part of the PATRIMONIUM 20.22 programme, "La Banda (Sonora) del Castell" (The soundtrack of the Castle).CASTRVM consists of: I.Iberians: stone and ironII.AndalusiansIII.The square tower: fortress and homageIV.Qna
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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£209.99Dunamis - André Waignein
Major Yvon Ducene wanted a new lush and colourful composition for his Guides military band, with Andr Waignein as its composer. Early in 1979 the composer began his assignement and in October of the same year, the finished full score was on the music stands of this prestigious military band of the Belgian Army.The introduction (Grave) mirrors an atmosphere full of serenity in which the theme, played by the oboes and the English horn is predominant and immediately holds the listener spell-bound. It is taken up again as central element of the slow movement.The Allegro breaks away from the quiet passion of the introduction. Here, the band can really show its capabilities to thefull. Based on a very precise rythm, an idiom of sudden desperation and adversity develops which, fused with a crushing agression, culminates in a kind of eruption, soom calmed down by a Lento : peace and quiet has returned thanks to a melody by the horns and soon taken over by the clarinets. In the meantime, the saxophone - an instrument full of human emotion - express the main spatial dimension in contemporary psyche. Following a harmonic transition the brass-players take up the theme again in forte whilst the basses and the woodwinds interwine in technical arabesques.The movings of the mind and the heart get an audible and almost touchable shape in the ensuing Allegro, a movement characterized by a rhythmic dialogue in which the whole orchestra participates and where the exposition contains a wealth of sound and technical contrasts. The Lento finally uses the central theme of the slow movement again, with some occasional references to the two allegros. The last page is of unprecedented grandeur. All the instruments display their most beautiful sound which were named by Jacques Ferschotte, when speaking about Honneger, "harmonies d'intensits" harmonies of the unmeasurable.
Estimated dispatch 7-14 working days
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£70.00
Masque - Kenneth Hesketh
A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice' . The chaos of this dramatic dance is depicted in this 'Masque' by Hesketh. The main theme is bravura and is often present, in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos, trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little!Masque has been transcribed for wind band by Kenneth Hesketh from his 'Scherzo for Orchestra', commissioned by the National Children's Orchestra in 1987.
In stock: Estimated delivery 1-3 days
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£70.00Masque. Wind band - Kenneth Hesketh
A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice'. The chaos of this dramaticdance is depicted in this Masque by Hesketh. The main theme is bravura and is often present, in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos, trumpet and hornsolos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little! 'Masque' has been transcribed for wind band by Kenneth Hesketh from his ScherzoforOrchestra, commissioned by the National Children's Orchestra in 1987.
Estimated dispatch 7-14 working days
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£97.02Our First Christmas Concert! (Concert Band - Score and Parts)
Stretch your beginning band budget dollars at Christmastime with this outstanding collection of four holiday favorites! Includes four complete band arrangements in one, all grade 1.5. Includes: A CHRISTMAS CLASSIC by James Swearingen DOWN THROUGH THE CHIMNEY by Jerry Williams THE SEASON by James Swearingen A SNOWY CHRISTMAS DAY by Jerry Williams
Estimated dispatch 7-14 working days
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£107.50Our First Christmas Concert! - James Swearingen
Stretch your beginning band budget dollars at Christmastime with this outstanding collection of four holiday favorites! Includes four complete band arrangements in one, all grade 1.5.Includes:A CHRISTMAS CLASSIC by James SwearingenDOWN THROUGH THE CHIMNEY by Jerry WilliamsSOUNDS OF THE SEASON by James SwearingenA SNOWY CHRISTMAS DAY by Jerry Williams
Estimated dispatch 7-14 working days
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£118.99North Hills Fantasy (Concert Band - Score and Parts) - Sparke, Philip
North Hills Fantasy was commissioned by the North Hills High School Bands, Pittsburgh, Pennsylvania (director: Len Lavelle) as part of a commissioning programme that has run since 1965 - the longest of its kind in the USA. The work opens with a reflective, unaccompanied solo for alto saxophone which develops into a chorale for horns and saxes. This is taken up by the trumpets and subsides to a change of key and mood, with highly decorated folk-like solos for clarinet, bassoon and saxes. These solos build to a climax for full band, which heralds a triumphant return of the horn chorale, accompanied by florid woodwind figuration. But the mood soon winds down; fragments of earlier melodies return calmly to peacefully close the work. Duration: 5.30
Estimated dispatch 7-14 working days
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£242.50Labyrinth for Symphonic Band (Concert Band - Score and Parts) - Aagaard-Nilsen, Torstein
I wrote Labyrinth to celebrate the 450th anniversary for the city of Fredrikstad. The Danish king Fredrik II agreed to establish a new town further down the river Glomma, to make it easier to defend from the Swedes. The piece is a network of quotations mixed with my own pitch material. My versions of the quoted melodies are not authentic, and sometimes hard to recognize. However, the different quotations give the music an aura of tonality. For example, a dance tune composed by the Flemish composer Mattheus Le Maistre (1505-1577). The melody also occurs in the first danish book of hymns written after the reformation. Since Norway for 400 years was a part of Denmark and everybody had to write and read Danish, they used much of the same music, too. I also use regular Danish hymn tunes and quote from a religious folk song from the area around Fredrikstad. The military signals I use are authentic (for example, The Old Danish March), and I am very sure they were used in the Old Town (the fortress) of Fredrikstad. The drums quote from The Downfall of Paris. This could have been heard played by professional soldiers hired by the Swedes from Scotland. This edition is a revised version made in 2020. - Torstein Aagaard-Nilsen. Duration: 23.00
Estimated dispatch 7-14 working days
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£85.00Rejoice and Sing! (Concert Band with Optional Choir - Score and Parts) - Rutter, John - Noble, Paul
Rejoice and sing! was written in celebration of the 95th birthday of Sir David Willcocks. John Rutter writes: I was delighted to be asked by OUP to compose a new carol in his honour. Writing 'Rejoice and sing!' I recalled the many happy Christmas concerts he conducted with the Bach Choir in London's Royal Albert Hall, thinking also of his fondness for quirky rhythms, hence the lopsided 7/8 which runs through much of the music. This arrangement is written for combined Concert Band and Chorus, but may be performed by band alone. It is compatible with the original version except that it is transposed down by one-half step (semi-tone).
Estimated dispatch 7-14 working days
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