The Turing Test

Alan Turing is considered the father of modern computational science and much, if not all, of our modern computer technology and the connectivity that we now take for granted is born of the work of this one great, but troubled man. His famous test was designed to prove whether artificial intelligence (AI) could successfully imitate human thought. The single movement of The Turing Test is essentially non-programmatic, but it does seek to show something of the emotion and colour of Turing’s life in its different sections. The composer employs bi-tonality and complex rhythms to show opposing worlds colliding. At the end of each test, we must decide: has true AI beenborn?

Mitt hjerte alltid vanker - Fantasi : Fantasy on My Heart remains in Wonder

This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.

Má vlast (My Country)

My Ladye Nevells Booke -

Facsimile British Library MS Mus. 1591 facsimile Hardback

Patriotic Favorites for Strings : Value Pak - 24 part books, conductor score and CD

Each song in this collection is correlated with a specific level in the Essential Elements series. Includes: America, the Beautiful - Anchors Aweigh - Battle Hymn of the Republic - The Caissons Go Rolling Along - God Bless America - Hymn to the Fallen - Marine's Hymn - My Country, 'Tis of Thee (America) - The Patriot - The Star Spangled Banner - Stars and Stripes Forever - This Is My Country - Yankee Doodle

La Ville Blanche et Bleue

This piece is a kind of flashback on my experiences of my time as an amateur musician in my hometown of Gjøvik (often called “The White City”). It was at a time when the expressionas had to be created by myself and the music performed by the band (“The Liverflower”) was a kind of a voyage of discovery for a young boy. A lot of the music I played at that time has shaped me as composer and musician. I remember the beautiful melodies and the rhythmic passages with a nostalgic smile. Maybe this music can make an impression on new generations of band musicians.

My Ladye Nevells Booke : Facsimile British Library MS Mus. 1591

One of the finest music manuscripts – for scholarly and practical useMy Ladye Nevells Booke is one of the finest musical manuscripts of the late 16th century. With its 42 compositions, itcomprises about a third of the keyboard music by William Byrd – including some of his most popular compositions such as the variations on “Sellinger’s Round” and “All in a Garden Green”.Byrd himself selected the pieces for this anthology and directed the work of copyist John Baldwin. The meticulous, small corrections, found on almost every page, were most probably written by Byrd himself. Thegrandcoat-of-arms at the beginning refers to Sir Henry Neville of Billingbear (Berkshire) and as such identifies his wife Elizabeth as the dedicatee.The manuscript did not become public property until 2006 when it waspurchased for the British Library. Now it is published in book form for the first time and gives the musician an impression of the richly decorated preserved original volume.In his commentary, Byrd specialist OliverNeighbour describes the genesis and history of the work. He also provides information on Byrd’s concept, the chosen repertoire and gives technical details on the notation.

Goldberg 2012

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 Sunnmøre 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-

Film Favorites - Value Pack (Komplettpaket) : 37 Part Books with Conductor Score and CD

As a follow up to the popular Movie Favorites, this eagerly awaited collection features the hottest movie themes arranged for full band or individual soloists (with optional accompaniment CD). In the student books, eachsong includes a page for the full band arrangement as well as a separate page for solo use.Includes: Pirates of the Caribbean, Mission: Impossible Theme, My Heart Will Go On, Zorro's Theme, Music from Shrek, May It Be,You'll Be in My Heart, The Rainbow Connection, Also Sprach Zarathustra and Accidentally in Love.

Colors of Grace (New Edition) : Lessons for Lent

Presented in a new edition for the 20th anniversary of its publication, this seminal cantata is rich with musical and spiritual potential. Using simple symbols of worship, expressive music and a sensitive narration by Pamela Stewart, this work is an unforgettable experience for Holy Week. A new SAB version and special anniversary consort orchestration join the original products to open the work to groups of every size. Only 30 minutes long, the cantata is easily learned and with Brant Adams' gentle yet dramatic orchestrations, Colors of Grace will become a treasured part of your Holy Week commemoration. Songs include: Prologue - Take My Yoke Upon You - A Servant's Song(The Basin and Towel) - Take My Yoke Upon You (Lesson 1: Service) - Underscore: The Cup - A Shadow Fell on Sharon's Rose - Take My Yoke Upon You (Lesson 2: Obedience) - Underscore: The Crown of Thorns - O Gentle Jesus - Take My Yoke Upon You (Lesson 3: Humility) - Come to the Cross - Epilogue. Score and Parts for Orchestra (fl 1-2, ob/eng hn, cl 1-2, bn, hn 1-2, timp/bass dm, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as Printed Edition and as a digital download. Consort Score and Parts (fl, cl, hn, perc, pno, hp, vn, vc) available as a digital download.

Liberty Fanfare

One hundred years after the dedication of the Statue of Liberty in 1886, John Williams was commissioned to compose a fanfare for the re-dedication ceremony. At this event, Mr. Williams led the Boston Pops Orchestra in the firstperformance of this work, which the composer described as “a group of American airs and tunes of my own invention.”

Patriotic Favorites : Value Pak (37 part books, conductor score & CD)

Here is the ultimate collection of Patriotic songs arranged to be played by either full band or by individual soloists (with optional accompaniment CD). For each song in the individual student books, there is a page for the fullband arrangement as well as a page for solo use. In the same popular format as Michael's “Movie Favorites” and “Broadway Favorites,” each arrangement in “Patriotic Favorites” is correlated witha specific page in the Essential Elements 2000 Band Method. However, you don't need to be using this particular method to enjoy these wonderful arrangements! Includes: America, The Beautiful; America (My Country, 'Tis of Thee);Armed Forces Salute; Battle Hymn of the Republic; God Bless America; Hymn to the Fallen; The Patriot; The Star Spangled Banner; Stars and Stripes Forever; This Is My Country; Yankee Doodle/Yankee Doodle Boy.

Far From Here : Song Cycle for Chorus and Orchestra

Written for the Greenwich High School choir and orchestra, Emmy award-winning and Grammy-nominated musician, and GHS parent, Rob Mathes, wrote a song cycle entitled Far From Here as a tribute to the GHS students' and their upcoming graduation. The three movements include: Yesterday/My Home, Where Shall I Go?, You'll Find Me Singing, to create an impressive showcase for high school musicians.

Sinfonietta no. 1 : for wind orchestra

Sinfonietta No. 1 was originally written for brass band, commissioned by the Dutch National Championships 2011 in Groningen. It also served as the test piece for the Swiss National Championships 2011 in Montreux, Switzerland. In 2012, Johan de Meij created this version for wind orchestra.Unlike most of Johan de Meij's compositions, Sinfonietta No. 1 is an abstract, non-programmatic work. It consists of three movements, in which the thematic material of the opening measures - an upward fifth jump - returns in various shapes and forms throughout the piece. The slow middle section features solo passages by cello, English horn and bassoon, all starting with thesame fifth jump. The final movement presents an Elgar-like march theme, interspersed with quotes from the second movement, and ending with the opening theme of movement I.

Mantra

Mantra was commissioned by Fanfare Concordia Middelstum on the occasion of its 100th anniversary. As in Spiriti, my composition for brass band, I used an existing quote as the basis for this work: namely, the Dutch melody of Psalm 150. This theme is repeated in fragments in the manner of a mantra. This protective mantra leads us through life’s perilous rocks and untamed waters, through tranquil islands of refuge and places of calm meditation, eventually leading to a full chorale that brings the composition to an elegant close.

Nulli Secundus

Commissioned by the Michigan School Band and Orchestra Association, this major work by James Curnow honors the memory and legacy of renowned conductor and educator Harry Begian. In consideration of Dr. Begians Armenian heritage,Nulli Secundus(“second to none”) is a suite of three variations based on the Armenian folk song Cilicia (My Homeland). Movements include: I. March Caprice (concert march in fantasy variationform), II. In Memoriam (honoring victimsof the 1915-18 Armenian Genocide), and III. Finale (rapid paced set of variations). Recorded by the Michigan State University Wind Symphony. Dur: 10:00

Walt Disney's Snow White and the Seven Dwarfs : Master Score

Bluddle Uddle Um Dum (The Washing Song) (from Walt Disney's SNOW WHITE AND THE SEVEN DWARFS)The Dwarfs' Yodel Song (Silly Song) (from Walt Disney's SNOW WHITE AND THE SEVEN DWARFS)Heigh-Ho (The Dwarfs' Marching Song from SNOW WHITE AND THE SEVEN DWARFS)I'm Wishing (from SNOW WHITE AND THE SEVEN DWARFS)One Song (from SNOW WHITE AND THE SEVEN DWARFS)Some Day My Prince Will Come (from SNOW WHITE AND THE SEVEN DWARFS)Whistle While You Work (from SNOW WHITE AND THE SEVEN DWARFS)With A Smile And A Song (from SNOW WHITE AND THE SEVEN DWARFS)

Concert Favorites Vol. 1 - Value Pak : 37 Part Books with Conductor Score and CD

Organize concerts with your beginning groups quickly and painlessly with this marvelous band collection of arrangements from the popular Essential Elements Band Series. Featuring 15 titles that correlate with the playing levelsfrom Book 1 of the Essential Elements Band Method, this collection provides a variety of styles perfect for that first concert experience. Includes: Let's Rock, Majestic March, When The Saints Go Marching In, Mickey Mouse March,Power Rock, Farandole, Jus' Plain Blues, My Heart Will Go On, Rainbow Collection, Supercalifragilisticexpialidocious, Drums of Corona, Laredo (Concert March), Pomp and Circumstance, Stratford March and Do-Re-Mi.

A Midnight Clear : A Cantata for Christmas

A Midnight Clear is a joyful collection of carols that beautifully and elegantly portray the Christmas story. Stylistic variety abounds, and the optional Chamber Orchestration will provide additional layers of texture and color to the work. Selections can be presented individually or as part of a full-length cantata, making this book an excellent choice for Lessons and Carols services or for concert presentations. Songs include: King Jesus Hath a Garden; Puer Natus in Bethlehem; Blessed Be That Maid Mary; All My Heart This Night Rejoices; It Came Upon the Midnight Clear; O Come, Little Children; In Dulci Jubilo; Carol for the Newborn King; Christmas Celebration.

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

Early Hungarian Dances

The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.

Fanfare and Chorale

This arrangement (or edition) for brass band will give the possibility for more performances of this fine work by Hovland. The composer, before his death, examined my work and made no suggestions for changes, and his approving comments were complimentary and encouraging. The work was originally written for Concert Band in 1966 as Op. 54a to St. Olaf College Band in the US. It was transcribed in 1967 for symphony orchestra as Op. 54b by the composer himself. The challenges in arranging the piece for brass band were mostly concerned with satisfactorily covering the upper register used by piccolo, flutes and clarinets, and while there are wonderful brass players around who have amazing high registers, I have aimed this edition at a level achievable by reasonably good brass band players who are willing to give time and effort into the proper preparation and delivery of the music. Having worked on this new edition with a top-class brass band, I think it sounds wonderful and interestingly different to the original. Besides the obvious differences of tone-colour and absent high notes, I have used in my scoring, the option for using a vibraphone in place of a celeste. Vaughan Williams, in his Variations for brass band writes for celeste, but because the instrument is quite rare, performances have been mostly given using a glockenspiel- but this, of course sounds two octaves higher than it was intended. I think that vibraphone and brass is an excellent combination and recommend it without hesitation in this piece. Every detail of articulation and dynamic has been considered, so in order to keep the integrity of the music, please do not change anything in the name of “interpretation”. As Ravel says- “What is there to interpret?” Ray Farr

What Sweeter Music : A Cantata for Christmas

From John Leavitt comes this elegant cantata for Christmas, set up in the form of a classic Lessons and Carols service. A colorful tapestry of beautiful sounds, this major work has great variety in its scope and style. Whether presented with piano or John's chamber orchestration, the sensitive writing will showcase the artful approach of a master arranger, making this compilation of carols and readings a thoughtful choice for churches, universities and community choruses. Highly recommended! Songs include: Veni, Veni Emmanuel: People, Look East: The Angel Gabriel: He Is Born, the Divine Christ Child: Resonet in laudibus: What Sweeter Music: Tomorrow Shall Be My Dancing Day: WeThree Kings of Orient Are: Sing Noel, Alleluia! Score and Parts (fl 1-2/pic, ob, cl 1-2, bn, perc 1-3, timp, hp, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download.

Die Entführung Aus Dem Serail : German singspiel in three acts

“I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a newpath. [...] I think it would be a good thing for me provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him.”Thus Mozart in a letter of 1011 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meonany other terms, then let him try me with an opera. After that he can do what he likes for all I care.”Urtext of the New Mozart EditionFull score (BA4591-01), vocal score (BA4591-90) and studyscore format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)

Panoptikum : Scenes from Lake Constance

Armin Schaer commissioned this work in his search for a new piece for the tuba. More specifically, he wanted a work that showed off the versatility of this splendid instrument, written in a musical style that is both fresh and modern, while not banishing the orchestra to a simple supporting role. Taking all these specifications into account, Thomas Doss created a work that allows stylistic leaps and is fun, exciting, romantic, and virtuosic, but does not lose sight of the thread that connects the opening measures to the very last.Armin Schaer describes his Panoptikum as follows:Panoptikum is a show of appreciation for my beautiful home and community at LakeConstance, an eventful life, the people that have enriched this life, and a fascinating instrument: the tuba. This work musically embodies the many different moods found around theBodensee - cheerfulness and melancholy, departures and longing, calm and agitation. The roles of the soloist and the orchestra were consciously crafted in a way that does not follow the usual conventions of the genre. The work should spark emotions, address broad segments of listeners, and persuade them of the tuba’s ability to be a solo instrument as well as the richness symphonic wind ensembles have to offer. I hope this work enriches the lives of all the soloists and orchestras that cross its path, as well as everyone in the audience who gets to partake!