Results
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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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£84.99Variations on a Theme by Elgar - Árpád Balázs
In rpd Balzs's diverse and varied oeuvre, works for wind orchestra play a prominent role alongside choral music. He composed the Elgar Variations in 2022 on the theme of one of Edward Elgar's (1857-1934) short early works (Love's Greetings, 1888). As rpd Balzs writes ''The theme I used as the starting point for my work may already be considered a variation, since I 'peeled off' the dense ornamentation and the tonicisations from it, and what remained was the melody, beautiful in its own place. What come back from time to time from the theme in the variations are: the arched structure, the double peak point, and mostly the major sixth leaping downwards, then upwards. The modest, transparent orchestration, which then is amplified at the repetition of the theme is also a defining feature. There is a personal family secret hidden in the third variation: a late compliment to a loyal spouse for the past half century... The closing variation is calm and quiet - similarly to the chorale-like slow movement in Bla Bartk's 3rd Piano Concerto. It is like a message from an old composer to the Future.'' The Elgar Variations together with the Concertino (1992, Z. 14909) and the Rhapsody (2015-2021, Z. 15167) form an ambitious, emotionally wide-range trilogy for a concert band.
Estimated dispatch 7-14 working days
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£99.00Postcards from Tomorrow - Gauthier Dupertuis
During their childhood, some people have the tradition to put their toys, drawings and wishes for the future into a timebox that they bury somewhere to dig up when they are adults. This has inspired Gauthier Dupertuis for the title of this work: Postcards from tomorrow. What wishes would we put in those boxes for the future; what kind of postcards would we send to our grandchildren? To compose this work, Gauthier Dupertuis was also inspired by three pictures that have some symbolic meaning linked to the question above and that give the names to the three movements that make up this piece.The first movement, Abandoned Blockhouses, refers to war and other horrors in the history of humanity, while Pagoda at the Lake, the second movement, was inspired by the pagoda, a religious building whose function is to house the relics of holy people in Asian worship. The third and last movement, Building Bridges, is a call for hope. In July 221, Postcards from Tomorrow was awarded the first prize at the "La Bacchetta d'Oro" international composition contest in Italy.
Estimated dispatch 7-14 working days
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£53.95At Max Power! - Amy Webb
It's time to show the world that your band has what it takes to be the best. Can they push to the front, give it all they've got, and sprint to the finish line? Your students have put in hard work, time, and effort to make their concert the best it can be. What better way to end your program than with this exciting piece by Amy Webb that lets them sprint to the finish line!
Estimated dispatch 7-14 working days
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£52.95Journey's End - Steve Hodges
Upon completion of an activity, an event, or other meaningful experiences, there is a time for reflection for what has been accomplished and what is to follow. This lyrical piece features a memorable melody that is presented by all sections of the band. These reflective presentations lead into a slightly faster minor section indicating the anticipation of plans for the future. The final presentation of the melody indicates a positive feeling of accomplishment and features a moving countermelody by the woodwinds leading to a quiet, contemplative ending. Check out Journey's End, composed by Steve Hodges. (2:48)
Estimated dispatch 7-14 working days
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£137.70Mammoth Mountain Suite - Haakon Esplo
Mammoths were a family of elephants that, with one exception, died out at the end of the last ice age. Their closest living relative is the Asian elephant. In many places in the world one can find mammoth remains. In Norway (especially in Gudbrandsdalen), 20 discoveries of teeth and skeletal remains have been made after mammoths that lived here between 40,000 and 50,000 years ago. On cave paintings and carvings you can see many pictures of mammoths with other animals. Pictures of killed mammoths have also been found with humans. Mammoth Moutain Suite describes a bunch of hunters looking for mammoths. Imagine the majestic animals, what it felt like to see the herd in themountains and what it sounded like when the 6 ton heavy and 3.5 meter tall mammoths were on the run.
Estimated dispatch 7-14 working days
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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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£68.99
Fairy Tail Suite - Tsutomu Tajima
This work was complete in January 2013 to commemoration the 50th anniversary of the Iwate Prefecture Band Association. Conditions at the request were as follows:1: Does not have to be particularly relating to Iwate. It should be something that would be widely familiar to the whole country. 2: Should suit the contest piece requirements. 3: Must be a song that can be used at a graduation ceremony for student procession and recessional.4: Must include vocal parts with a beautiful melody.5: Must be a march.6: Must be a song that would be loved by many.They are difficult requests. I hope to satisfy at least one of them.We selected Yanagida Kunio's book "Tono Monogatari" as the cornerstone of the work, chose four stories that fit the image, and stuck close to the source of the story. Then, "prelude music" was added, making it a suite consisting of five movements.I. "Prelude" What kind of story will it be? An exciting opening expresses such a feeling.II. "Zashikiwarashi" Spirit that brings good fortune and wealth. It appears at midnight and makes mischief, something silly, not serious. Zashikiwarashi moves quickly, dances, plays its games, hiding and reappearing often. These characteristics are considered cute and the music depicts such a mischievous Zashikiwasi.III. "Oshirasama" A girl and her horse love each other. Her father forbids this, and kills the horse. The beautiful daughter clings to the horse and cries. Eventually, the daughter and the horse rise to heaven, slowly and gradually, remembering former happy days. The music captures this ascension to heaven.IV. "Yamanba (Mountain witch)" Run away, run away, its chasing, still chasing. Run away, and still chasing. The girls hides. Yamanba searches. It keeps chasing, endlessly, following her everywhere. Chasing, chasing, and finally... Seriously and comically depicting the chase situation in fugue style.V. "Kappa" Staring into the distance. It looks gallant. What is it looking at? Staring beyond the mountain? Perhaps it is longing for hope and happiness. This is an homage, a march, and cheering song for Kappa who never gives up and embraces dreams and hope.It is my wish that many people become familiar with this song.(2013.3.31 Tsushima Tashima)
Estimated dispatch 7-14 working days
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£106.95
The Roosters Lay Eggs In Kansas - Mayhew Lake
A good friend of Sousa, Mayhew Lake wrote this fun "tongue-in-cheek" ditty as an encore for Sousa's band. Unpretentious and simple, what you see is what you get. Short, sweet, and funny! It's sure to leave your audience with smiles on their faces.
Estimated dispatch 7-14 working days
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£149.99Heaven and Earth - Jan Bosveld
An Astrological Composition. Astrology is based on the principle that each sort of time has its own quality. In order to determine the quality of a particular moment, an astrologer looks at the position of the planets in the solar sustemat that moment. Each planet has specific types of energies and its location provides unique information for a certain moment on Earth. Thus: its position in the sky tells something about what happens on Earth. In this composition the typesof energies of four planets are musically translated. The four planet were not randomly chosen. There are two pairs, whose influence and energy are opposite. Venus and Mars. Venus represents the feminine principle: harmony, beauty,art, and the ability to make relationships and to keep the peace. Venus connects, and communicates in order to maintain the balance. Mars represent the masculine principle: winning, impulsiveness, enthusiasm, and sexual energy for procreation.He creates war enabling the strongest to triumph. Mars is musically depicted in a stirring march in which enthusiasm characterises the masculine character. Saturn and Jupiter. Saturn represents concentration and withdrawal: the strongnotion of responsibility, seriousness, self-discipline and melancholy. Saturn is the hermit who will conquer his fears and worries in minimal conditions and by self-chastisement. This contemplative character is depicted in the music as if it isalmost standing still, which also reflects the given character of this planet. Jupiter represents growth and expansion: the positive, self-confidence, the good Samaritan, the healer. Jupiter is the philosopher who will make the world a betterplace, sees future possibilities, and searches for eternal values. He is the prophet who sometimes rants and raves his doctrine and proclamations, resulting musically in a whirling and upbeat finale. not looking back at what has been but searchingfor new challenges. "Heaven and Earth" was commisioned by the Music Lending and Information Centre (MUI), a department of the library for the province of Gelderland in Arnhem, The Netherlands.Een astrologische compositie. Astrologie is gebaseerd op het principe dat elke tijd zijn eigen kwaliteit heeft. ""Tijd voor koffie"" of ""het was je tijd nog niet"" als bijvoorbeeld een baan aan je neus voorbij is gegaan. Om de kwaliteit van een moment te lezen kijkt deastroloog naar de stand van de planeten in ons zonnestelsel op dat tijdstip. Elke planeet heeft specifieke energien en de plaats aan de hemel geeft unieke informatie over een bepaald moment op aarde. Oftewel: de stand aan de hemel (Ouranos) verteltiets over wat er op aarde (Gaia) gebeurt. In deze compositie worden de energien van vier planeten muzikaal vertaald. De vier planeten zijn niet lukraak gekozen. Het zijn twee paren, die qua invloed en energie tegenovergesteldzijn. Venus en Mars. Venus vertegenwoordigt het vrouwelijke principe: harmonieus, schoonheid, de kunst, het vermogen om verbindingen aan te gaan en de vrede te bewaren. Venus geeft door en verbindt om de balans te bewaren. Marsvertegenwoordigt het mannelijke principe: winnen, anderen aftroeven, impulsief en enthousiast, seksuele energie voor de voortplanting. Mars creert oorlog om de sterkste te laten zegevieren. Venus staat tot Mars als vrede staat tot oorlog, alsverbinden staat tot verbreken, als harmonie staat tot competitie. Jupiter en Saturnus. Jupiter vertegenwoordigt groei en expansie: het positieve zelfvertrouwen, de weldoener, de genezer. Jupiter is de filosoof die de wereld wilverbeteren, vooruitkijkend en zoekend naar eeuwige waarden, de profeet die soms al te bombastisch zijn leer verkondigt. Saturnus vertegenwoordigt concentratie en inkrimping: het sterke verantwoordelijkheidsbesef, soberheid, zelfdiscipline enmelancholie. Saturnus is de kluizenaar die onder minimale voorwaarden en zelfkastijding zijn angsten wil overwinnen. De harde, serieuze werker die volgens vaste regels stug doorgaat om aan zijn hoge eisen te voldoen. Jupiter staat tot Saturnusals uitbreiding staat tot inkrimping, als zelfvertrouwen staat tot faalangst, als vrijheid staat tot structuur.
Estimated dispatch 7-14 working days
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