SKU: BT.GOB-000854-020

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to ‘kill’ nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These ‘living’ trees, said to be the work of benign spirits, were brought into people’s houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ’s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ‘O Tannenbaum’, the melody being a well-known folk song. Next to ‘Stille Nacht’ ‘O Tannenbaum’ is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of ‘O Tannenbaum’ has even been used in four States (among which the State of Maryland) for their State song. In David Well’s arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

De traditie van de ‘Kerstboom’ gaat in West-Europa terug tot ver voordat er van enige kerstening sprake was. Gedurende de koude strenge winters dacht men dat kwade geesten de natuur ‘vermoordde’. Naaldbomen behielden als enige hungroene kleur en werden daardoor symbolen van onsterflijkheid. Deze ‘levende’ bomen, het werk van goede machten, werden in huis gehaald om kwade geesten en levensbedreigende krachten buitenshuis te houden. Van ‘versierde’ kerstbomenwas het eerst sprake in de 14e eeuw. Het was een heidens gebruik, dat in deze periode in de Elzas voorkwam. Tijdens de 15e en 16e eeuw werd het versieren van de kerstboom door de kerk overgenomen. De versiering bestond in eersteinstantie vooral uit etenswaar, als appels en koekjes. Later ging men ook kleine cadeautjes als versiering gebruiken. Er wordt beweerd dat Martin Luther, de hervormer, als eerste kaarsen in een kerstboom deed. De fonkelendevlammetjes creëerden een sterrenhemel waarin men Christus’ verschijning leek te herkennen. De Duitse organist Ernst Anschütz uit Leipzig, was de eerste die het lied ‘O Tannenbaum’ op schrift stelde. De melodie was een bekend volkswijsje.Naast ‘Stille Nacht’ is ‘O Tannenbaum’ het meest bekende kerstlied dat vanuit Duitsland de hele wereld veroverde. De melodie van ‘O Tannenbaum’ wordt zelfs in de Verenigde Staten van Amerika in vier verschillende staten(o.a. Maryland) als volkslied gebruikt. In het arrangement van David Well hoort u het lied eerst op de manier zoals velen het kennen. Na deze inleiding klinkt een stevige rock-versie en is de maatsoort niet meer de gebruikelijke.Het tussendeel is weer in de vertrouwde driekwarts-maatsoort. Hier is echter de ritmiek in een ander jasje gestoken. Na de rijkelijk met slingers versierde rock-beat klinkt nog één keer het oorspronkelijke thema om daarna feestelijk.

SKU: CF.YPS217F

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

SKU: BA.BA11395

ISBN 9790006568574. 29.7 x 21 cm inches. Text Language: English. Text: Al Fakir, Salem / Maggio, Veronica / Pontare, Vincent / Bergling, Tim / Pournouri, Ash.

“Hey brother! There's an endless road to rediscover
Hey sister! Know the water's sweet but blood is thicker …”

“If the sky comes falling down, for you / There’s nothing in this world I wouldn’t do”. The subject of this energetic, life-affirming hit is being there for one another. Whether sung by female or mixed choirs, the fanfare-like theme is equally powerful and will keep the audience tapping their feet.


The editor:

Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahler’s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductors’ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of Katarinakörerna, one of Sweden’s largest choral societies.

Hans Vainikainen heads Stockholm’s Katarinakörerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the world’s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Avicii’s best songs for classical choirs, intending them to be encore pieces.

“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture.

SKU: BT.GOB-000652-120

In a four-part composition Rieks van der Velde takes us to the richly varied area surrounding the university city of Cambridge.
The Dutch composer was especially inspired by the atmosphere of Cambridgeshire, the county which lies north of London.

1. The Journey.
Although on arrival the area looks peaceful and friendly, the ruggedness of its inhabitants and landscape have an unmistakable influence on the music.
In the course of the tour, which starts with an Allegro movement, we are shown the vitality, energy and freshness of the Cambridgeshire countryside.
Short themes, swift and sudden motifs and rhythmical patterns supported by the drive ofpercussion instruments give expression to this image.
The first part is concluded by two 'Calmo' movements in which the music expresses how the cathedral in the city of Ely comes into sight and is gradually approached.

2. Visit to Ely Cathedral.
The famous Norman cathedral church of Ely, which was built in 1109, has attracted tourists from all over the world apart from being a place of worship and heritage site.
A cornet solo introduces the contemplative mood of the composition at this point.
The mystical atmosphere of the cathedral runs through this lyrical part like a continuous thread.

3. The Pub.
The thirst caused by this intensive journey makes a visit to the local pub a definite must.
These “public houses”, which may be open until the early hours of the morning, offer all kinds of entertainment.
Drinks are served liberally and the atmosphere is lively.

4. The Journey Back.
Time has flown: In other words, the moment of departure has come sooner than one would have wished.
In a flashback which recaptures elements of the first part of the composition we say goodbye to Cambridgeshire in a fitting manner.
Two scintillating final measures bring us abruptly back to the present.

In een viertal delen neemt Rieks van der Velde ons mee door de zeer gevarieerde streek rond de universiteitsstad Cambridge.
De Nederlandse componist liet zich inspireren door vooral de sfeer in het graafschap Cambridgeshire tennoorden van Londen.

1. The Journey.
De aankomst in de streek is vriendelijk te noemen doch de grilligheid van de mensen en het landschap heeft een onmiskenbare invloed op de muziek.
De rondreis welke start op hetAllegro laat Cambridgeshire zien als een streek van vitaliteit, energie en frisheid.
Korte thema's, flitsende motiefjes en ritmische patroontjes gesteund door stuwend slagwerk bevestigen dit beeld.
Het eerste gedeelte besluitmet twee 'Calmo' gedeelten waarbij het zicht op de kathedraal van de stad Ely en het naderen ervan wordt aangegeven.

2. Visit to Ely Cathedral.
In 1109 werd de beroemde kathedraal van Ely gebouwd die tot op de dagvan vandaag een grote aantrekkingskracht geniet van niet alleen toeristen.
Het rustpunt van de compositie wordt ingeleid door een cornetsolo.
De mystieke sfeer van de kathedraal is de rode draad in dit lyrische gedeelte.

3. The Pub.
Een intensieve rondreis maakt dorstig en een bezoek aan de pub is uiteraard een must.
Tot 11 uur 's avonds kan men er terecht voor alle vormen van vertier. De drank vloeit rijkelijk en de sfeer is feestelijk.

4. The Journey Back.
Er is een tijd van komen en gaan, en dat moment komt eerder dan je zou willen met andere woorden de tijd is omgevlogen.
Met een flash back naar het eerste deel wordt op passende wijze afscheidgenomen van Cambridgeshire.
Twee flitsende slotmaten zetten ons in één klap weer in het hier en nu.