SKU: A0.1504633

Wonderwall (Oasis) - Wind Band Arrangement | Based on Paul Anka's Rock Swings Version

In this arrangement, you'll hear a wind band arrangement of Wonderwall by Oasis, inspired by Paul Anka's unique swing rendition from his Rock Swings album. This arrangement includes all the essential parts for wind band, plus some extras like tenor horns and treble clef parts for lower brass players. It's a fresh take on a classic song, combining the original's indie rock vibe with a big band twist!

Perfect for wind ensembles looking to add some swing to their setlist. 

#Wonderwall #Oasis #WindBand #PaulAnka #RockSwings #BrassBand #MusicArrangement.

SKU: A0.802642

Silly Love Songs is a song written by Paul McCartney and Linda McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with Cook of the House. The song, written in response to John Lennon and music critics accusing McCartney of predominantly writing silly love songs and sentimental slush, also features disco overtones.

The song was McCartney's 27th number one as a songwriter; the all-time record for the most number one hits achieved by a songwriter.With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. McCartney previously hit No. 1 in the year-end Billboard chart as a member of the Beatles with I Want to Hold Your Hand in 1964 and Hey Jude in 1968.

Silly Love Songs has since appeared on multiple McCartney greatest hits compilations, including Wings Greatest and All the Best!. The song has also appeared on the Hits section of the compilation album Wingspan: Hits and History. Despite its popularity, McCartney has not performed the song live since the dissolution of Wings.

Silly Love Songs was written as a rebuttal to music critics (as well as John Lennon) who had criticized McCartney for writing lightweight love songs. Author Tim Riley suggests that in the song, McCartney is inviting his audience to have a laugh on him, as Elvis Presley had sometimes done. But over the years people have said, Aw, he sings love songs, he writes love songs, he's so soppy at times. I thought, Well, I know what they mean, but, people have been doing love songs forever. I like 'em, other people like 'em, and there's a lot of people I love -- I'm lucky enough to have that in my life. So the idea was that you may call them silly, but what's wrong with that? The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they've just got a couple of kids and have grown up a bit, settling down, they'll say to me, I thought you were really soppy for years, but I get it now! I see what you were doing! - Paul McCartney, Billboard 

Enjoy my brassy version of Silly Love Songs

SKU: S9.Q20914

The title No people. comes from the surrealist Raymond Roussel. In 1932 he published a long poem called New Impressions of Africa. For this he commissioned 59 drawings to illustrate the text. The commission was given to the artist through a detective agency so he never knew who the commissioner was or saw the text he was supposed to illustrate. All he got was instructions for each drawing and he had to make the drawings accordingly. A typical instruction might be Nocturnal landscape. Very starry sky with a thin crescent of moon. (No people.) or A rambler, arm raised and fingers outspread, dropping a pebble (still visible) down a well and seemingly straining to hear the sound of its splash. (No other people.) When Roussel put the drawings and text together, the ordinary everyday drawings took on a strangeness they might otherwise not have had if the artist had drawn with the text in front of him. It's the juxtaposition of both unknowns - text/drawings - that gives the final work its strange quality. © Gerald Barry (2013).

SKU: A0.1178138

Gorgeous sacred piece in Middle English for SSAA and Bb clarinet! Perfect for Holy Week, Easter, Good Friday, Maundy Thursday, environmental, nature, mystical, contemplative concerts!
 
Julian’s Hazelnut (2022) by Adrienne Inglis (ASCAP)
SSA treble chorus and B flat clarinet
Text: The Shewings of Julian of Norwich, Part 1 Lines 148-154 by Julian of Norwich (about 1343 - after 1416)
Commissioned by Inversion Ensemble for Da Capo’s Origins concert
Duration 3:50 minutes
Difficulty 4 (Auditioned Chorus)
Language — Middle English (with Original Pronunciation from David Crystal)

Original Pronunciation
http://originalpronunciation.com/GBR/Home 

The perusal score video will be included on this YouTube playlist soon.
https://www.youtube.com/playlist?list=PLY9Jh0jT7VQvcM78yozLNYpIXeWzJjMPs

Performances:
21 Jan 2023 at 7 PM Inversion Ensemble and clarinetist Brendan Fairleigh (world premiere) in Austin, Texas

Commissioned by Inversion Ensemble for Da Capo’s January 2023 Origins concert, Julian’s Hazelnut (2022) by Adrienne Inglis sets text by Julian of Norwich for treble voices and B flat clarinet. Born in about 1343 in Norwich, England, Julian survived the Black Plague as a girl of six. She became an anchoress at St. Julian’s Church in Norwich where she lived in prayerful seclusion. In 1373, she became very sick at age 30. Near the point of death, a curate showed her a crucifix for comfort. She then experienced a series of intense visions of Christ and recovered from her illness to write eloquently about her “shewings.� The beautiful Medieval English text for this piece is from The Shewings of Julian of Norwich, Part I lines 148-154 in which Julian reflects on the vision she experienced about a hazelnut in the palm of her hand. She comes to understand that God loves even a small, ordinary thing like a hazelnut, such that it will not disintegrate but last forever because of God’s love for it. In Julian’s vision, the hazelnut symbolizes all that is made — all of Creation that God made and loves forever. The music combines Medieval sounds and counterpoint with lush, modern harmonies, woven together with the smooth color and elegant lines of the clarinet. Singers use Original Pronunciation to capture the lyricism of Julian’s words. May this piece inspire the same awe and amazement at God’s beloved Creation that Julian felt centuries ago.

http://adrienneinglis.com.

SKU: S9.Q21833

This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe. Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pécou

Soleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space create a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pécou.