Score for this piece which was comissioned by London Brass and first performed in 1992.Quoting composer: The piece was completed without title on 12th August 1992. A title once considered was Canons Chorales and Waltzes butthis was dropped since there was only one canon (the opening) and only genuine waltz (apart from a passage towards the end which superimposes the canon over a waltz rhythm). The following day I read the paper that John Cage haddied - the day I finished writing. For this reason but mainly because Cage was the most revolutionary practical music thinker of the 20th century this piece is dedicated to him. His influence on my music may be perceived underthe 'very un-Cagein' surface: though stylistically there may be little in For John Cage that may have been to his taste I hope he would at least have appreciated its diversity its non-simultaneous multiplicity.Parts areavailable on hire or special order. Duration 15 minutes.

When I was approached to compose a work for brassband and church organ I already envisioned the concept I would use. It would indeed literally become a work for brassband and organ. Without the traditional solos the organ would form an addition to the brassband orchestration as would the brassband provide an extra register for the organ. In short a homogeneous entity. The most important reason for doing this is quite simple. Since this work can only be performed in a church and because of the specific acoustics of the church the brassband would sound in al its tone colour like an organ. By using certain registers of the organ and combining these with the brassband a wonderfulsound palette can be created. The use of complementary or contrasting tone quality is also possible. The primary theme of this composition is based on these three methods of ?colouring?. As far as structure is concerned this work consists of two parts. slow ? fast. It is built on a number of motifs in which some behave like a consecutive canon. In the fast movement the primary motif develops into a fugue-like section. The canon and fugato are techniques frequently used in classical and contemporary organ literature. The liberal use of structure and motif has lead to the title. ?Fantasy for Brassband and Organ?.

Par SCHJELDERUP FREDRICK. Momentum Sequences was commissioned by Skjold Skoles Musikkorps (Norway) for their 60th Anniversary in 2021 (later adapted for brass band to Smørås Skolemusikk). The title of the term Momentum can be explained by an event that creates extra energy, or the driving force of a moving object. In this case, both the driving force, The energy and the object can be translated to the music, the conductor and the band. The piece is divided in three movements; «I.Signals», «II.Light» and «III.Finale» which builds up the Momentum of the piece’ character and theme. / Date parution : 2023-07-31/ Répertoire / Ensemble de Cuivres

Musaic (1969) by Per Nørgård - for Brass Ensemble and Electronics. Instr.: 5 Cornets 3 Trombones and Electronics Progamme Note Among my compositions for brass band three (“Backlight” “Massifs” - crystals - cascades” “Musaic”) all belong to a three-dimensional space. Thus “Massifs - crystals - cascades” was proclaimed from a mountainside towards the audience in the Norwegian town Tromsø and “Backlight” to the special room of the new concert hall at The Music Conservatory of Jutland Denmark.  “Musaic” was composed in 1969 for the inauguration of Edition Wilhelm Hansen’s new branch in Århus Jutland. Short movements for brass were intermittently heard on the street. In the concert hall all the movements were however heard - also the ones already played; by means of a continuous tape individual fragments of the ´street music´ were gradually collected into one concluding uninterrupted piece lasting all in all 10 minutes a mus(a)ic/muza(i)k…  A synthesis can be heard on a CD from 2007 (by the Brass Ensemble of The Royal Danish Conservatory Jutland) with the note that the work might be much longer when performed live.  Per Nørgård (2007)  Parts available: KP01903A

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship Bergen February 1989. EBML conducted by Michael Antrobus. The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991. The composer: In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material. When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius that revolves(?= turn upside down) heaven and earth. (Well not a good translation I¬?m afraid). The fast sections reflects the mighty winds from the north. In the middle section I borrowed a folksong-like tune (by C. Elling a norwegian composer). The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest. Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren maar bovenal te respecteren. Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Trimbeka is a composition which owes its existence to the anniversary of music society ?de Vlecke? in Gorredijk. The name Gorredijk originates from ?goor? or ?gor? which means : bog. Along the marshy peat ran a ?dijk? (the Dutch word for dike) called the Gordijk. The name of the village resembles that of the home town of the composer himself who comes from a town in Twente called Goor. Three streams used to run through the area around Gorredijk. the historical name Trimbeets (Trimbeka) meaning three brooks recalls this to mind. Gorredijk was a flourishing ?Vlecke? i.e. large village which was situated on an intersection of important connecting roads.The liveliness which this entailed is one of the distinctive elements in Trimbeka. Furthermore ominous sounds possibly refer to the dangers of the bog while the resonance of the merriment during the annual fair can also be heard. The slow middle movement is an ode to the beautiful landscape surrounding the village.

A riotous romp through a collection of Christmas favourites A Windy Christmas is broadly based on Ding dong! Merrily on high; Angels from the realms of glory; O come all ye faithful; Silent Night; I saw three ships; Here we come a-wassailing; The Sussex Carol; God rest you merry gentlemen; Quelle est cette odeur agréable?; Jingle Bells; Away in a manger and We wish you a merry Christmas.The piece is scored for a standard brass quintet. It lasts 7' 30' but an optional cut can be made if performed as an encore reducing the length to 4' 35'.

‘Four Easy Dances’ is a four-part suite from Gobelin’s ’Flexy Band Collection’. This series is meant for starter ensembles i.e. youth orchestras which may not have the full range of instruments available yet. Therefore it is possible to combine various instruments. ‘Four Easy Dances’ comes from the ‘Flexy 3 Series’ and can in principle be played by only three instruments completed with three percussion instruments. ‘Four Easy Dances’ consists of: 1. Hop Skip and Jump 2. Little Polka 3. Spanish Dance (castanets are obligatory) and finally 4. Tango.

The composer:1st movement: Reflections by the Fjord.Overlooking one of the mighty fjords of Norway my mind and thoughts are with an old religious Norwegian folk-tune with words by the famous parson Peter Dass.The majestic fanfare-likeopening reflects the power of God our Father the choral itself heard for the first time on flugelhorn. The choral is repeated a few times separated only by some short variations. The movement ends in thriumph with fanfares and the choral broughttogether.2nd movement: Reflections in the Old Church.In this movement my associations of a summer day finding myself alone in an old deserted stone church. From the old walls I hear folk songs perhaps like the ones sung in the church bypoor fishermen and farmers in days gone by. Suddenly the light from the sun breakes through the small circular window above the altar and a lovely melody is heard before the original figures take us to the end of the movement.3rd movement:Festive Reflections.Any festive occasion can be reflected in this movement. from the bonfire at midsummer-night to the children celebrating the return of the sun in the northern part of Norway. from the traditional sleigh-riding at Christmas tothe Celebrations of the National Day on the 17th of May each year.

Commissioned by the Norwegian Band Federation and Tom Brevik. Composed in 1991. The composer:Elegy and March was one of my first original compositions (no quotations no folk-tunes) and it was one of my earliest attempts to experiment with form. The elegy-part is quite obvious but the march is not quite a march. If the elegy-part tells a sad story then the march should tell a happy story. My problem is that I don¬?t think life is like that. Result: the march collapses! De liefhebbers van de muziek van de Scandinaviër Aagaard-Nilsen kunnen hun hart ophalen bij dit bijzondere werk. In de tweedelige compositie zijn de delen thematisch aan elkaarverwant. De Elegy is een verstild werkje met prachtige klankvelden. Alle instrumenten komen aan bod maar nooit tegelijk. Hoe anders is dat in de mars waarbij ragfijn orkestspel wordt gevraagd. De componist: Elegy and March was een van mijn eerste originele werken (geen citaten geen volksliedjes) en het was een van mijn eerste pogingen om te experimenteren met vorm. De elegie deel is vrij duidelijk maar de mars is niet helemaal een mars. Als het elegie-deel een triest verhaal vertelt dan zou de mars een gelukkig verhaal moeten vertellen. Mijn idee is dat dat in het echte leven ook niet zo is. Resultaat: de mars stort totaal in!Weer iets totaal anders van de Noorse meester!

L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).

Ray Steadman-Allen's lovely atmospheric piece of music. Based on a well-known Scandinavian childrens's hymne 'Ingen er s? trygg i fare' (Children of the Heavenly Father). Een lieflijke sfeervolle compositie van Ray Steadman-Allen.Gebaseerd op een bekend Scandinavische kinderliedje ''Ingen er s? trygg i fare'' (Children of the Heavenly Father).

Scottish Dances is based on three Scottish traditionals: Cock of the North The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous it seems delicious liqueur and rallies to snowboard competitions. Furthermore is 'Cock O' the North ' a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary had a canary Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. ' The Bonnie Bank's O'Loch Lomond ' is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding after the official ceremonies there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as 'Marie's Wedding '. Mid dance we go back to the church where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely on we go heel for heel and toe for toe Arm and arm and on we go all for Marie's wedding