Results
-
£150.00Cockaigne Overture (In London Town) (Concert Band - Score and Parts) - Elgar, Edward - Noble, Paul
Cockaigne Overture was composed when Edward Elgar received a commission from the Royal Philharmonic Society, and he reported that the new piece was "cheerful and Londony, 'stout and steaky'...honest, healthy, humorous and strong, but not vulgar." The first performance was in the Queen's Hall, London, on 20 June 1901, conducted by the composer. He dedicated the work to his "many friends, the members of British orchestras." The music was an immediate success and became one of Elgar's most popular works. In its 15 minutes or so, the overture gives a lively and colourful musical portrait of Edwardian London. 'Cockaigne' was a term used by moralists at that time as a metaphor for gluttony and drunkenness, while Britain adopted the name humorously for London, and from it we get the Cockney. Cockaigne or Cockayne /ka' kein/, the word origin tracing back to the 13th century, is a land of plenty in medieval myth, an imaginary place of extreme luxury and ease where physical comforts and pleasures are always immediately at hand and where the harshness of medieval peasant life does not exist. The work presents various aspects of turn-of-the-century London and Londoners. It begins with a quiet but bustling theme which leads into an unbroken sequence of snapshots: the cockneys, the church bells, the romantic couples, a slightly ragged brass band (perhaps the Salvation Army) and a contrastingly grand and imperious military band. The broad theme representing Londoners has been stated as the first occurrence of Elgar's trademark direction, 'nobilmente.' The work ends in a characteristically Elgarian blaze of sound, including an optional full organ.
Estimated delivery 7-14 working days
-
£37.95The Year of the Dragon (Prestige Concert Band - Score only) - Sparke, Philip
The 2017 version of The Year of the Dragon was commissioned by the Siena Wind Orchestra and given its world premiere on June 17th 2017 in Bunkyo Civic Hall, Tokyo, conducted by the composer.The original wind band arrangement of The Year of the Dragon was made in 1985, a year after the composer wrote the brass band version. At that time he was still learning the intricacies of writing for wind band (and still is!) and in the 32 years which have elapsed since then, his approach to scoring for the medium has developed and, hopefully, improved.Here are the main differences between the two versions:In the 1980's, the wind band movement was much less international than it is now. British wind bands were still to some extent based on the military band tradition of the time, which tended to use rather smaller instrumentation than the then-dominant American university model. The new version embraces a much more international instrumentation, including low woodwinds and string bass, as well as an expanded percussion section.In the original version there was a touch of naivety in the way the composer wrote for the woodwinds; much of their articulation was transferred too literally from the brass version, resulting in some unidiomatic writing, which he has tried to improve in the new version.In addition to the above, Philip's own compositional style has matured and developed in the intervening 32 years. There are some passages in the original which he simply would not write today - not because they are 'wrong', but because his way of writing has changed. The new version is perhaps how he would have written it today, rather than simply dressing the original version in new clothes.The work is in three movements:Toccata opens with an arresting side drum figure and snatches of themes from various sections of the band, which try to develop until a broad and powerful theme from the middle of the band asserts itself. A central dance-like section soon gives way to the return of this theme, which subsides until faint echoes of the opening material fade to a close.Interlude takes the form of a sad and languid solo for alto saxophone. A chorale for the whole band introduces a brief spell of optimism but the saxophone solo returns to close the movement quietly.Finale is a real tour-de-force for the band with a stream of rapid semi-quavers running throughout the movement. The main theme is heroic and march-like but this is interspersed with lighter, more playful episodes. A distant fanfare to the sound of bells is introduced and this eventually returns to bring the work to a stirring close.
Estimated delivery 7-14 working days
-
£199.95
The Year of the Dragon (Prestige Concert Band - Score and Parts) - Sparke, Philip
The 2017 version of The Year of the Dragon was commissioned by the Siena Wind Orchestra and given its world premiere on June 17th 2017 in Bunkyo Civic Hall, Tokyo, conducted by the composer.The original wind band arrangement of The Year of the Dragon was made in 1985, a year after the composer wrote the brass band version. At that time he was still learning the intricacies of writing for wind band (and still is!) and in the 32 years which have elapsed since then, his approach to scoring for the medium has developed and, hopefully, improved.Here are the main differences between the two versions:In the 1980's, the wind band movement was much less international than it is now. British wind bands were still to some extent based on the military band tradition of the time, which tended to use rather smaller instrumentation than the then-dominant American university model. The new version embraces a much more international instrumentation, including low woodwinds and string bass, as well as an expanded percussion section.In the original version there was a touch of naivety in the way the composer wrote for the woodwinds; much of their articulation was transferred too literally from the brass version, resulting in some unidiomatic writing, which he has tried to improve in the new version.In addition to the above, Philip's own compositional style has matured and developed in the intervening 32 years. There are some passages in the original which he simply would not write today - not because they are 'wrong', but because his way of writing has changed. The new version is perhaps how he would have written it today, rather than simply dressing the original version in new clothes.The work is in three movements:Toccata opens with an arresting side drum figure and snatches of themes from various sections of the band, which try to develop until a broad and powerful theme from the middle of the band asserts itself. A central dance-like section soon gives way to the return of this theme, which subsides until faint echoes of the opening material fade to a close.Interlude takes the form of a sad and languid solo for alto saxophone. A chorale for the whole band introduces a brief spell of optimism but the saxophone solo returns to close the movement quietly.Finale is a real tour-de-force for the band with a stream of rapid semi-quavers running throughout the movement. The main theme is heroic and march-like but this is interspersed with lighter, more playful episodes. A distant fanfare to the sound of bells is introduced and this eventually returns to bring the work to a stirring close.
Estimated delivery 7-14 working days
-
£32.95Trombone Concerto (Trombone Solo with Concert Band - Score only)
The composer writes:My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout. The concerto was composed in Spain the summer of 2010. Once I started writing I realised this concerto was, inevitably, going to draw on my own experiences as a trombone player.The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo.The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write ineluctably cantabile as we trombone players rarely get a chance to play the melody! There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson (my teacher at college) died in the summer of 2010 so it seemed appropriate to dedicate this movement to him.The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist.While wanting to test the instrument, I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.Recorded on Polyphonic CD QPRM161D Roman TrilogyDuration: 19:30
Estimated delivery 7-14 working days
-
£164.95
Trombone Concerto (Trombone Solo with Concert Band - Score and Parts)
The composer writes:My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout. The concerto was composed in Spain the summer of 2010. Once I started writing I realised this concerto was, inevitably, going to draw on my own experiences as a trombone player.The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo.The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write ineluctably cantabile as we trombone players rarely get a chance to play the melody! There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson (my teacher at college) died in the summer of 2010 so it seemed appropriate to dedicate this movement to him.The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist.While wanting to test the instrument, I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.Recorded on Polyphonic CD QPRM161D Roman TrilogyDuration: 19:30
Estimated delivery 7-14 working days
-
£60.50The Light Shines in the Darkness (Concert Band - Score and Parts) - Milner, Barry
A lighthouse stands upon a shoreline to be a beacon for all ships coming into a harbour. This beacon guides ships to safety that otherwise might have been destroyed by the rocks of the shoreline. This beacon also serves as a hope to those ships that are lost at sea. The light also refers to wisdom, compassion, and love. John 1:5 of the bible states that, "The light shines in the darkness, but the darkness has not understood it" (NIV). The light in this passage refers to Jesus who was trying to reach out to a world that did not understand and was looking for hope.Duration: 6.00
Estimated delivery 7-14 working days
-
£104.99Nocturne (Clarinet Solo with Concert Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Van der Beek, Wil
Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but lyric scenes. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can be considered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.Duration: 3:30
Estimated delivery 7-14 working days
-
£59.95Rondo Grottesco (Tuba Solo) (Concert Band - Score and Parts)
When Bourgeois, Derek was a schoolboy he played tuba, and as a budding composer he decided he needed a grand vehicle to display his mastery of the instrument. He therefore set out to write a work and completed the opening tune. At that time, however he did not have the expertise to develop the material and after the tune the concerto came to an abrupt end. Many years later the composer was invited to write a piece for tuba and concert band and Rondo Grottesco is the result - the schoolboy composers original tune developed not into a grand concerto but a fine miniature.
Estimated delivery 7-14 working days
-
£11.95
Rondo Grottesco (Tuba Solo) (Concert Band - Score Only)
When Bourgeois, Derek was a schoolboy he played tuba, and as a budding composer he decided he needed a grand vehicle to display his mastery of the instrument. He therefore set out to write a work and completed the opening tune. At that time, however he did not have the expertise to develop the material and after the tune the concerto came to an abrupt end. Many years later the composer was invited to write a piece for tuba and concert band and Rondo Grottesco is the result - the schoolboy composers original tune developed not into a grand concerto but a fine miniature.
Estimated delivery 7-14 working days
-
£59.99
Circus Delight Wind Band Set (Score & Parts)
Circus Delight' is a five-part suite which is set, how could it be otherwise, in a big circus tent. The suite starts with a part called 'Entrance'. The orchestra, positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. ('Elephant Blues') How different are 'The Acrobats'. At high speed they run, jump and fly through the ring, until ....... It gets very exciting. Fortunately, all's well that ends well and they take their leave of the audience at a trot. Everyone knows, and yet it is mostly not spoken about, that when a clown has taken off his red nose and rubbed off his make-up, his face off-stage is not always a happy one. ('Tears of the Clown') The piece ends on a cheerful note with 'The Parade', in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience's overwhelming applause. 03:45
Estimated delivery 7-14 working days
View Music