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Toccata e Fantasia

Toccata e Fantasia

Toccata e Fantasia was inspired by the composers’ love of Anton Bruckner’s fantastic wind instrument scoring in his symphonies. Within Toccata e Fantasia Thomas Doss has used several of Bruckner’s motifs. In addition to these obvious references you will also find hints of Eastern music with the small motifs being repeated again and again in a sort of Indian guru’s mantra, and an improvised blues section with a Big Band feel! A unique concert work that will thrill your audience.

SEK 558.00
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Hercules ms540b mikrofonställ

Hercules ms540b mikrofonställ

Lavprofil mikrofonstativ med teleskop og Quick-N-EZ greb. Sort. Lavprofil mikrofonstativ med ekstra lang teleskoparm som er ideelt til tromme- og forstærkeropmiking og sammeklappelig trefod. Boomarmen kan nemt og hurtigt via "Quik-N-EZ"-systemet sættes på og tages af basen. Leveres med "EZ Adaptor Flip Clip" som gør det ligeså nemt at påsætte en lang række mikrofoner. Højde: 655 mm Vægt: 2.1 kg Fodradius: 325 mm Telskoparmlængde: 780 mm - 1220 mm Sammenfoldet: 782 mm x 105 mm x 90 mm

SEK 552.00
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45's Bluetooth Headphones - White

45's Bluetooth Headphones - White

Something cool, different and exciting. Encapsulating the spirit of Soho itself, the 45’s are the number 1 headphone for touch and swipe control and have amazing hybrid noise cancellation. Also, the outer shell of the 45’s has incorporated a record deck look from the future. Look at the specification, if you like that sort of thing, and compare it to other brands, it just sounds good. Gesture controls Up to 60-hour battery life Exceptional Noise cancelling Comfortable memory foam earcups USB-C type Charging cable included

SEK 905.00
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Frederic Chopin: Piano Pieces

Frederic Chopin: Piano Pieces

Mazurkas, nocturnes, waltzes and polonaises constitute the core of Chopin’s expressive world. However, he also moved comfortably beyond such genre cycles, and pieces of this sort are brought together in this “Klavierstücke” book, in which we find lesser-known works (two Variation cycles, three Ecossaises) from Chopin’s earlier creative period along with rousing dance movements (Bolero and Tarantelle) and, to finish, the orchestrally conceived Allegro de concert. This forms the introduction to a sequence of three great individual works from Chopin’s middle and later creative periods: the Fantasie op. 49, the Berceuse op. 57, and the Barcarolle op. 60 the finest Chopin, availablein Henle paperback, cloth-bound, and study editions.

SEK 589.00
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Per Nørgård: Zigzag (Parts)

Per Nørgård: Zigzag (Parts)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

SEK 886.00
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Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations, Beethoven sometimes lets the piano appear alone, and sometimes has it rest. In places the mood is that of a sort of funeral march, and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio”, the later of the two, was a reworking by Beethoven himself of his op. 20 Septet. He provided as also in the case of op. 11 an alternativeviolin part, in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition, which just as back then- makes it doubly valuable.

SEK 520.00
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A Storybook Christmas Musical

A Storybook Christmas Musical

Once upon a Christmastime ... Santa's workshop is visited by your favorite storybook characters: the Wolf, the Three Little Pigs, and Little Red Riding Hood. But wait! Little Red Riding Hood owns a health food restaurant, theThree Little Pigs are interior decorators and the Wolf is a gourmet chef? What's next? Join the fun as Santa's elves sort out the facts in this rollicking, 45-minute holiday musical, which includes 7 Unison/2-Part songs ina variety of styles with everything from Broadway-style show tunes to contemporary rap! The Teacher's Manual includes the full script, accompanied songs and a complete production guide, the Singer's Edition 5-Pak includes thescripts and vocal lines only, and the ShowTrax CD features exciting full performance and accompaniment-only versions. Easy staging, funny characters and situations, and a heart-warming ending will make this a show foreveryone to enjoy! Available: Teacher's Manual, Singer's Edition 5-Pak, Preview Cassette (full performance) and ShowTrax CD. Performance Time: 45-minutes. For Gr.3-6.

SEK 837.00
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Per Nørgård: Remembering Child - Version 2013 (Score)

Per Nørgård: Remembering Child - Version 2013 (Score)

This is the 2013 version (reduced strings) of Per Nørgård 's Remembering Child - Viola concerto No. 1 (1986) -  Two Movements for Viola Solo (or Cello solo) and Chamber Orchestra. Programme Note: The title refers to the original meaning of the word "remembering": Making whole. The work should not be considered as a sort of requiem for Samantha Smith - the late 13 years old fighter for nuclear disarmament - but as an evocation of the childish, creative forces in all people, young and old. Therefore the work applies thematic material of a certain "dawning" quality, including two Gregorian chants, appearing intertwined in the beginning of the 2. movement.  And therefore the work also may be considered as a tribute to the still living child-heretics, fighting against the global lunacy of grown-up, such as Eamon Burke, the Australian boy, continuing, independently, the work of Samantha.  REMBERING CHILD was commissioned by St. Paul Chamber Ochestra and dedicated to Pincas Zuckerman, soloist at the premiere performance (Sept. 12, 1986).  Per Nørgård   

SEK 801.00
1

Magnus-Hymnen : Hymn of St. Magnus

Magnus-Hymnen : Hymn of St. Magnus

Hymn of St. Magnus is the oldest written example of Nordic polyphony. It is dated around year 1200. It’s origin is the Orkney Islands and it’s characterized by moving, parallel thirds. The hymn is dedicated to Magnus Erlendsson (Magnus the Martyr), who was an earl at Orkney Islands at the end of the Viking age. This was obviously tough and bloody times for people in power, and Magnus was eventually cut down during a battle with a rival, which led to him being declared a saint. This arrangement describes the battle Magnus was involved in. The melody is here somewhat simplified from the original version, but with a slightly modern twist. Parts of the song is ideal to be learnt bymemory and performed with some sort of stage show. The drums in the song is supposed to be fierce war drums - the deeper, the better! The indicated drum rhythm is just suggested and may well be decorated with stylish details. It is also important that the melody is played as it would be sung in a choir, with long, beautiful phrases. The bass riff should be played like it would have been played on a rock guitar!

SEK 868.00
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Wheeler Tom The Fender Archives Scrapbook Artifacts Treasures Bam Bk

Wheeler Tom The Fender Archives Scrapbook Artifacts Treasures Bam Bk

Welcome to The Fender Archives – part history, part archive, part scrapbook, and part treasure chest. You are invited along on a research expedition, a sort of archeological dig through several sites: file folders in Fender's offices; the family archives of Don Randall; author/curator Richard Smith's collections; the photo galleries of John Peden and Fretted Americana; jammed metal cabinets in a sweltering warehouse near the Corona factory; and the home of the late Bob Perine in Cardiff-by-the-Sea, just blocks from the beach where he and Ned Jacoby took now-iconic photos of high school kids, surfboards, palm trees, and chrome-clad rocket-ship guitars in Shoreline Gold and Daphne Blue and Candy Apple Red. The Fender Archives looks at the company from the inside. Handwritten letters, production totals, personal logbooks, in-house memos, Leo Fender's drawing-board sketches, financial reports-such documents are freed here from long confinement in cardboard boxes and filing cabinets, dusted off, and promoted from background to spotlight. The Fender Archives sheds new light on the inspirations for revolutionary instruments and amplifiers, their sometimes difficult births and growing pains, the environment into which they were unleashed upon the world, and the motivations and personalities of key players. Includes rare and previously unseen photographs and documents from Fender's decades-long rich history. Over 30 reproduced facsimile items of historical documents, posters, and other items of interest.

SEK 583.00
1

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures, I took the Commedia dell?arte character, Pierrot as my primary source of inspiration. Other more tenuous links to Schoenberg?s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements, whereas the Schoenberg comprises three sets of seven movements. Although there is no part for voice, I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4. Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem, but in the piece as a whole, I wanted to explore the extreme contrasts of the multi-faceted character of Pierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1, 3, 5 and 7 are closely linked, both in terms of their musical material and a sense of melancholy, dream-like quality and longing. Movements 2 and 6 are also strongly connected, with allusions to the more mischievous, violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work, juxtaposing a surreal, shimmering calm with brutal outbursts. There is never any direct repetition, yet there is a strong sense of material returning and mutating as the work unfolds.InstrumentationFlute, doubling piccoloClarinet in Bb, doubling Bass Clarinet in BbViolin, doubling ViolaCelloPiano

SEK 533.00
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Poul Ruders: Manhattan Abstraction (Score)

Poul Ruders: Manhattan Abstraction (Score)

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders? Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer?s own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it?s open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian?e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders? use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.

SEK 915.00
1

Aulis Sallinen: Five Portraits of Women for soprano, solo horn and large ensemble full

Aulis Sallinen: Five Portraits of Women for soprano, solo horn and large ensemble full

Five Portraits of Women is a set of songs with large ensemble derived by Aulis Sallinen from arias from three of his operas: The Red Line, The King Goes Forth to France and Kullervo. Each draws a portrait of a woman compelled in her role by fate or a mission. The vocal lines differ only very slightly from their original counterparts in the operas but the revised orchestral accompaniment creates an extraordinary new soundscape as background to the arias, consisting as it does of a woodwind orchestra, four cellos, a harp and a piano. There is also a solo French horn which acts as a sort of masculine counterweight to the female vocalist. Tuiskuaa lunta (It is still snowing) (from The Red Line) is the story of Riikka, waiting in her snowbound cabin for the arrival of a good, life-enhancing message. Carolinen häät (Caroline’s Wedding) (from The King Goes Forth to France) describes the deranged Caroline Tammatukka (Caroline with the Thick Mane) in a feverish hallucination involving the King, whose arrival she awaits. The King is in fact already married but Caroline believes that he has left France for their wedding. Minä odotan sinua, paimen (When we meet this evening) (from Kullervo) is the aria of the smith’s young wife, who waits impatiently for the arrival of Kullervo. Itkenkö minä sinua? (How can you ask if I’ll mourn you), from the same opera, describes the all-embracing love of a mother, which encourages yet overrules the scorn of others for the youth. On tämä silta tehty naisista (That’s the bridge that’s made of womankind) (from The King Goes Forth to France) is the song of Caroline Iloinen [The Nice Caroline] explaining the biological, eternal mission of woman as the bearer and birth-giver of life. The libretto of the opera The King Goes Forth to France is written by Paavo Haavikko; the librettos of The Red Line and Kullervo are by the composer. Five Portraits of Women was commissioned by the Finnish Radio Symphony Orchestra.

SEK 608.00
1

Hugh Wood: String Quartet No.4 Op.34 (Score And Parts)

Hugh Wood: String Quartet No.4 Op.34 (Score And Parts)

Commissioned by the BBC and premiered by the Chilingirian String Quartet.Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction.But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of ?cauldron?, from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter?s First Quartet) of which the opening is to reappear halfway through the Finale.The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale.The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end.The work is dedicated to the Chilingirian Quartet, old friends over many years.Score available separately: SOS04044

SEK 811.00
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