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£149.99
Jello, The Colours Of My Soul - Ben Haemhouts
Jello...The Colours of my Soul is an assignment that was written to be a lasting memory of the untimely, dramatic death of a young child. The work came about due to various conversations between the father and the composer whereby the final resultmust be seen as an attempt by the composer to musically translate the feelings of the parents.The first part of the title, "Jello", is a combination of the names of the two children of the commissioner, namely Jelle and Lobcke, and "the Colours of mySoul" are the colours of the soul of the parents who despite the loss of one of their children, continue to cherish their two children. The introduction provides the atmosphere of grieving for the loss, whereby use is made of pure fifths in order toportray the solidarity with nature, as we are familiar with in symphonies by Bruckner. A little later a bit of the first theme is suggested, which develops into a real funeral march.The Dies Irae, as this occurs in Berlioz's Fantastic Symphony (F, E,F, D, E, C, D), forms a leitmotiv through the entire work in order to symbolise the constant battle between life and death.Shortly before the storm-passage, (where a wind machine is used) which announces disaster, fragments from children's songs areplayed to the accompaniment of a rising choir piece from behind the stage, which strengthens the imminent confrontation with death.After the introduction of the two themes in the long introduction, a quick passage follows in which all kinds ofbeautiful memories are recalled. There is story telling, laughing, and dancing. One of the previous children's songs is also cited. The Dies Irea is heard once again, this time short and fast.Bit by bit happy elements are steadily distorted untilseriousness breaks through again, like an unavoidable and unstoppable evil. The entire piece becomes evermore stirring, as if a big climax will follow. At this moment a very long fermata makes a sudden end to the hysterical allegro. The crucialmoment in the work follows...How does one deal with something as tragic as the death of one's own child? Does one mourn for what no longer is and what never will be? Or does one try to cherish the beautiful moments and continue to live with thesecolourful memories?A subdued, dignified choir piece captures the beautiful memories and ends in a positive, hopeful tone.
Estimated dispatch 7-14 working days
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£245.50Seven Wonders of the Ancient World - Alex Poelman
In the Ancient World the seven most beautiful monuments were called 'The seven Wonders of the World'. In his Symphony nr.1, The Seven Wonders of the Ancient World' the young Dutch composer Alex Poelman has made a musical portrait of these splendid human realizations which are now, but for one, all destroyed. The symphony is masterly and lavishly orchestrated and portrays both the power of the sovereigns of ancient times and the splendour of the most beautiful buildings and works of art they have had built. Moreover, neither the seducing Eastern charm nor the mysterious exotic atmosphere are failing.Alex Poelman (Arnhem, 1981) studied informatics at the Twente University and plays French horn in several top amateur bands. Under the guidance of David Rowland he wrote his first composition for wind band 'Volcano'. This was followed by 'Theseus', 'Symphony nr. 1 'The Seven Wonders of the Ancient World', 'D-Day' and 'Aquila Chrysaetos'. This symphony was premiered on 28 May 2004 at Enschede. One year later, it was recorded on CD by the new Dutch military band KMKJWF conducted by Norbert Nozy.I. THE TEMPLE OF ARTEMIS.The Greek goddess Artemis, daughter of Zeus and Leto and twin sister of Apollo, was the goddess of the hunt and was especially worshipped in Arcadia. In the town of Ephesus, an Ionic colony in Asia Minor, a splendid temple was built in honour of Artemis which was destroyed in 356 B.C. when Herostratos set fire to it. Some years later it was reconstructed.II. THE GREAT PYRAMID OF CHEOPSCheops, the second pharaoh of the 4th Dynasty of Ancient Egypt (3rd century B.C.) had the big pyramid built at Gizeh on the left bank of the Nile, next to Cairo. The technical perfection and the huge dimensions of this magnificent 137 m high building were never equalled. It is the only one of the Seven Wonders of the Ancient World that was not destroyed and is kept undamaged up to this day. III. THE STATUE OF ZEUS Zeus, son of Chronos and Rhea, was the leading god of the Greek pantheon and, according to Homer 'the father of all gods and all humans'. He was the god of the celestial light and controlled all physical phenomena. In the Greek town of Olympia, birthplace of the Olympic Games, there was a splendid statue representing the Olympic Zeus. It had been sculptured about 433 B.C. by the great Athenian sculptor Phobias (ca 490 - ca 430 B.C.) and was considered as the nicest statue of the ancient Greek world. IV. THE MAUSOLEUM AT HALICARNASSOS. Halikarnassos (the actual Bodrum in Turkey) was at one time the capital of Asia Minor. When king Mausolos died in 353 B.C., his wife and sister Artemisa ordered to build a huge funeral monument (Mausoleum) for her deceased husband. It gave its name to all large funeral monuments in the world.
Estimated dispatch 7-14 working days
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£144.99Like the Eagle, We Soar and Rise - Satoshi Yagisawa
Like the Eagle, We Soar and Rise was commissioned by Yuying Secondary School Concert Band and Yuying Alumni Association for the 2010 centenary of the school's foundation. The piece was named by a friend of the composer named Steven Phua, who originally suggested commissioning a new piece to Satoshi Yagisawa. The piece furthermore takes its name from the text of the Yuying Secondary School song.This composition is based on three different concepts: the first one demonstrates 'The founders' passion for education'; the second concept illustrates 'Hardship in war time'; the third one 'To the future' describes the inner strength people find to overcome struggles. Thispiece concludes with a fanfare, which is the sound of hope that leads to a brighter future in a positive direction.The world premiere of this piece was conducted by Faizal Bin Othman, who is one of the leading educators in Singapore, and was performed by the Yuying Secondary School Concert Band.
Estimated dispatch 7-14 working days
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£211.80Karneval i Paris - Johan S. Svendsen
Johan Svendsen (1840-1911) composed "Carnival in Paris" in 1872, inspired by the energy and vibrancy of the Parisian carnival celebrations. The piece showcases a variety of moods and orchestral colours, ranging from jubilant and playful sections to more lyrical and elegant passages. It is a lively and colourful work that reflects Svendsen's skill in orchestration and his ability to capture vivid, festive atmospheres in music. In "Carnival in Paris", his Nordic musical roots meet the cosmopolitan influences he encountered while living and working in major European cities. The work has become one of Svendsen's most popular and is frequently performed in concert halls and festivals. About My Transcriptions for Wind Bands Ever since I started playing the clarinet at 8 or 9 years old in the school band "Blveisene" in my hometown of Gjvik, playing transcriptions of orchestral music has been a natural part of the repertoire. In regional bands, Norway's National Youth Band, and during my 10 years in a Military band, I played many such transcriptions. These transcriptions often included handwritten parts, masterfully crafted by colleagues in a time when music notation software didn't exist. Similarly, the scores were often incomplete, typically featuring just a solo clarinet part and condensed score in Bb. The transcriptions also contained parts for instruments like the Eb cornet and multiple tenor horns, but no saxophones, which made them less suitable for modern wind bands. The rise of many skilled Concert Bands and the increasing demands for scores and accessibility made me realize that someone needed to preserve this tradition. The reason I've transcribed these works is to ensure that you can play or conduct a repertoire that I believe has a rightful place in Norwegian Wind Band tradition. These transcriptions are my contribution to preserving some of the unique works in Norwegian music literature. Creating a transcription is a complex task, and I believe the score of "Carnival in Paris" is one of the most intricate I've undertaken. The first part of the process involves entering the entire orchestral score into music notation software. This is time-consuming and requires meticulous work. The next step is to check several editions to see if there are any discrepancies. Mistakes are often found in orchestral material, which can lead to further errors in the transcription. After that, I listen to many different recordings while following along with the score, paying attention to how different conductors emphasize balance and timbre. Gradually, I begin to note down passages I believe will work well for wind bands. One particular challenge in this piece is that the woodwinds and strings operate in the same register. In the original, the tonal difference between the strings and winds helps to clarify the individual musical lines. In the transcription, I've tried to address this by separating the lines, for example through octave adjustments, and highlighting them without compromising other aspects. I've also used some mallet percussion to broaden the tonal palette. There are countless decisions to be made to create a product that will hopefully allow future generations of wind band musicians to play this repertoire. - Stig Nordhagen -
Estimated dispatch 7-14 working days
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£149.40The Battle of the Hats - Øystein Sjøvaag Heimdal
The word svimesltt, which is the title of this piece in Norwegian, has two meanings. One meaning is "knocked out", whilst the other, "sltt", means a folk melody/dance.Svimesltt is one of several folk dances, all of them with humorous titles, originally written by ystein Olsen Vadsten. Norwegian culture is the basis for these dances, both rhythmically and melodically. The accompaniment has brought this funpiece into the 21st Century.When it comes to Svimesltt, it is the traditional dance "halling" that is the inspiration. Halling is a rather wild dance, where the man tries to win the heart of a lady by attempting to kick a hat off a stick,held up in the air. This iswhere "The Battle of the Hats" gets its distinctive name A truly Norwegian tradition.The composer wanted to write a "crazy" melody, which highlights how "knocked out" a man can be by love, as he tries to win the chosen ones heart.
Estimated dispatch 7-14 working days
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£137.99Theme Park Fun! - Wilco Moerman
In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit, you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition.Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day full of fun and pleasure awaits! You and the other visitors willbe confronted with all the rides, attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! A parade of colorful floats and park figures is passing by.Letthe fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun, is the Haunted House. Here visitors will be challenged to visit a house full of ghosts, creepy figures and otherominous things. The clock strikes twelve, there is no turning back. Ghosts are whispering, yelling, screaming... Fortunately it is almost one oclock, so we can leave this creepy place quickly.Part 3: The Swinging Galleon [withillustrations]What a huge pirate ship! Each time you swing back and forth, you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have a fantastic view over the park, but you can not enjoy itfor long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions, it is time for a peaceful tour in The Fairy Tale Ride.Surrounded by a fairytale setting, you will discover fable figures, talking animals and colorful designs. Such a beauty and tranquility. Having had this experience, we are ready again for the big rides in the park!Part 5: The Bumper Cars[with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bump against someone else. In this tough ride you can prove yourselfas a real driver, or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest, fastest and scariest ride in the park ... we should definitely do the Roller Coaster! All together in the train, theover-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the top and the train will be plunged down the first drop! Loops,corkscrews and other spectacular coaster elements will follow... Before you know it, the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [with animation]Unfortunately everything comes to an end. Thisday in the theme park is over, but we have a lot new experiences to talk about! The memories of all the funny and spectacular rides will come up when we walk through the park to the exit. Just one look over the shoulder, the amusement park figuresare waving at us. Hopefully we will come back again soon!
Estimated dispatch 7-14 working days
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£75.50The Dream of Tiberius - David Campo
The Roman Emperor Tiberius was born in 42 BCE to Tiberius Claudius Nero and Livia Drusilla, both descendants of prestigious political families, at a time when Rome was undergoing significant political upheaval. Julius Caesar had begun a brutal civil war in 49 BCE to end Rome's rule as a Republic and consolidate his power as supreme ruler. Following Caeser's assassination in 44 BCE, Tiberius' father backed the forces wishing to return Rome to a Republic, but they were defeated by Caesarian loyalists led by Caeser's heir Octavian. As a result, Tiberius' early life was spent on the run and in political exile with his parents. In 27 BCE, Octavian would become the first Emporer of Rome and assume the name Augustus. Augustus forced Tiberius' parents to divorce and took Tiberius' mother as his new bride, separating the family and forcing Tiberius to live with his father. Upon his father's death, Tiberius went to live with his mother and Emporer Augustus, a situation Tiberius found extremely uncomfortable but one over which he had no control. Having been adopted by the Emperor, Tiberius assumed the military and political life thrust upon him. He proved to be an outstanding military and political leader, and with his marriage to Vipsania Agrippina his life took on a heretofore unknown stability. However, Augustus would intervene in Tiberius' life once more, forcing him to abandon his happy marriage and take Augustus' daughter Julia (Tiberius' step sister) as his new wife. This arrangement, while securing Tiberius' place as Augustus' heir and ensuring he would one day be Emperor of Rome, was disastrous. Julia's drunken licentiousness was a constant source of scandal and embarrassment for Tiberius (and her father, the Emperor) and she was eventually exiled by her father Augustus. Tiberius was named Emperor of Rome upon the death of Augustus in AD 14, assuming his position as the most powerful man on Earth. However, no matter how powerful he had become, Tiberius never felt as if he had ever had any control over his life, having been manipulated from childhood through adulthood by the whims of Augustus. As Emperor, he soon became disgusted with the political intrigue of the Roman Senate and by AD 26 left Rome and took up residence on the island of Capri, where he lived out the rest of his life. History does not regard Tiberius fondly and by all accounts towards the end of his reclusive life on Capri, he had become a miserable, sick and mentally unstable old man reveling in debauchery and cruelty. It is also informative to note that he was Emperor of Rome when Jesus of Nazareth was crucified, and while there is no indication that Tiberius was even aware of the existence of Jesus, as Emperor he was responsible for the appointment of Pontius Pilate as Governor of Judea. Even considering this, it is difficult to look on the life of the Emperor Tiberius and not feel some sympathy and pity. It's in this spirit that I composed "The Dream of Tiberius." I imagine the man sitting in thoughtful seclusion on the beautiful island of Capri imagining what his life might have happily been had not power been thrust upon him: husband, father and humble servant of the people.
Estimated dispatch 7-14 working days
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£110.00Mount Everest - Kees Vlak
This composition basically consists of three fragments and an epilogue (conclusion):1) Plateaux, 2) Sherpas, 3) Climb. The piece starts with a musical depiction of the deserted plateauxs and mountain peaks of the Himalayas. The mysteriousness of theTibetan country was caused by its inaccessibility to other nations. One even believed that there was a paradise behind the huge mountains; the land of Shangra La. 1) After the sound of a gong, the Asian-like theme arises extremely softly from thedecay of the percussion. In bars 4 and 5 the syllables of Hi-ma-la-ya echo. Then a second theme appears; it symbolises the enchantment of the mountaineers by seeing the Mount Everest. 2) Eastern percussion, very evenly without emotion, sound from thedeserted village of the sherpas. The phrasing is prescribed by the number 'three'. From measure 56 Tibetian monks sing a chant, also with the religious background of the number 'three'. 3) The third part starts of with the sight of the giant MountEverest with an entirely new theme, that is played impressively by the strong low brass instruments of the band, immediately followed by the excited big climbing. The many surprises are depicted by the changing time signatures. Two themes are inconstant battle; the binary Himalaya theme and the ternary Mount Everest theme. Only once there is a steely composure. The registers in which the piece is played increase. The tension rises...Then the peak is reached. A long pause follows before onerealises that one is on top of the world. Slowly the emotions of joy grow and lead to an enormous climax. The first enchanted theme sounds again in total glory.
Estimated dispatch 7-14 working days
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£149.99Moses and Ramses - Satoshi Yagisawa
This piece was commissioned by Matsudo Citizen Wind Orchestra for their 30th anniversary concert and premired by the band conducted by Kenichiro Hasunuma in July 2009. This piece is typical of Satoshi Yagisawa in that it depicts a magnificent spectacle. This one is set in ancient Egypt and is based on the story depicted in the famous film "The Ten Commandments" (1956, directed by Cecil B. DeMille). One day Moses, who was raised by the rich royal family, found out that he was originally Hebrew. The Hebrews had been forced to live as slaves. Ramses, the prince directly descended from the Pharaoh, envied Moses' strength and popularity. After internal argument Moses decides todeliver the Hebrew from the Pharaoh's tyranny and escape from Egypt with them.The music starts with brilliant royal fanfare and depicts magnificent architecture, the Hebrew people forced into hard labour, and the slaves escaping from the Pharaoh's tyranny. At the climax they are at crisis point, trapped by the sea. Moses waves his staff and the miracle happens; the sea parts and Hebrew people successfully escape. Following on from Perseus - A Hero's Quest in the Heavens, this work Moses and Ramses is another piece written in the dramatic style favoured by Satoshi Yagisawa.
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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