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£149.99Cossack Folk Dances - Franco Cesarini
The Cossacks played an integral part in Russia's history which finally ended with the Soviet occupation in the 1920s. Franco Cesarini had the opportunity to attend performances by an ethnic group of Cossacks from Kuban. He was deeply touched by the beauty of the songs and traditional dances of the Cossacks and has written this work for concert band which faithfully retains the essential spirit of this seductive music.
Estimated delivery 7-14 working days
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£118.99Jug Blues and Fat Pickin' - Don Freund
Originally commissioned for the celebration of Tennessee's Homecoming '86, Jug Blues & Fat Pickin' is inspired by recordings of the Memphis Jug Band, the most recorded and perhaps most popular of the jug bands to spring up on Memphis' Beale Street in the late 1920's, and also bluegrass banjo pickin'. Freund's composition is a unique musical offering that melds blues elements with minimalist technique. (Grade 5) Dur: 8:00
Estimated delivery 7-14 working days
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£55.50The Curse of Tutankhamun - Michael Story
Inspired by the illness experienced in the 1920s by scientists exploring the tomb of the boy-pharaoh Tutankhamun, Michael Story's work musically traces the history from the discovery of the tomb through the mysterious curse. Expertly scored, this delightful work will capture your students' imagination. Both intense and enjoyable, this work is highly recommended. (2:45)
Estimated delivery 7-14 working days
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£375.00Facade - An Entertainment, Suite from (Concert Band with Optional Narrator - Score and Parts) - Walton, William - Noble, Paul
This Suite from Facade - An Entertainment, composed by William Walton, with poems by Dame Edith Sitwell, presents for the first time a grouping of movements selected and arranged by Paul Noble for Concert Band and optional Reciter. The original composition was written between 1921 and 1928, containing forty-three numbers. They had their origin in a new style of poetry that Edith Sitwell evolved in the early 1920s, poems that her brother Osbert later described as 'experiments in obtaining through the medium of words the rhythm and dance measures such as waltzes, polkas, foxtrots... Some of the resulting poems were sad and serious... Others were mocking and gay... All possessed a quite extraordinary and haunting fascination.' Possibly influenced by the dance references in some of the numbers, Osbert declared that the poems might be further enhanced if spoken to a musical accompaniment. The obvious choice of composer was the young man who lived and worked in an attic room of the Sitwell brothers' house in Carlyle Square W[illiam] T[urner] Walton, as he then styled himself. The now historic first performance of the Facade Entertainment took place in an L-shaped first-floor drawing-room on January 24, 1922. Accompaniments to sixteen poems and two short musical numbers were performed by an ensemble of five players. The performers were obscured from the audience by a decorated front curtain, through which a megaphone protruded for Edith to declaim her poems. This was, as she put it, 'to deprive the work of any personal quality'. The first public performance of Facade was given at the Aeolian Hall on June 12, 1923. By now, fourteen poems had been set, others revised or rejected, and an alto saxophone added to the ensemble. The occasion gave rise to widespread publicity, both pro and contra, and the name of the twenty-one year old W. T. Walton was truly launched. In the ensuing years the Facade has gone through revisions and additions, with full orchestral arrangements of selected movements being made without the Reciter. Former Band Director Robert O'Brien arranged some movements for band, again without Reciter, which are now out of print. So this 'history making' addition is the first opportunity for Concert Bands to present some movements of Facade with poems as originally intended. The luxury of electronic amplification allows the full ensemble to perform without necessarily overshadowing the Reciter. And the arrangements are written with considerable doubling so that the ensemble may play in full, or reduced in size as may be desired for proper balance. And, though not encouraged, the arrangements are written so that the band can perform the music without the Reciter. Program notes are adapted in part from those written by David Lloyd-Jones and published by Oxford University Press in the Study Score of William Walton's Facade Entertainments.
Estimated delivery 7-14 working days
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£76.90Bayrische Polka (Concert Band - Score and Parts)
Georg Lohmann was one of the best and most renowned trombonists in Germany from the beginning of the 1920s until the beginning of the 1950s. He composed a number of solo pieces for his instrument, which he later published. Of these, rather than "encore" imagined miniatures, the "Bayrische Polka" gained the greatest popularity.
Estimated delivery 7-14 working days
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£98.50Overture 1812 (Concert Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Godfrey, Dan
This classic Tchaikowsky work was initially transcribed for military band in the early 1920s as a part of the revered Chappell Army Band Journal. Since then, this arrangement has been on several selective music lists over the years and has been re-released with new engraving and finally includes a full score. Overture "1812" . . . as moving and exciting as ever. Duration: 14:45
Estimated delivery 7-14 working days
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£55.50The Curse of Tutankhamun (Concert Band - Score and Parts) - Story, Michael
Inspired by the illness experienced in the 1920s by scientists exploring the tomb of the boy-pharaoh Tutankhamun, Michael Story's work musically traces the history from the discovery of the tomb through the mysterious curse. Expertly scored, this delightful work will capture your students' imagination. Both intense and enjoyable, this work is highly recommended. Duration: 2.45
Estimated delivery 7-14 working days
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£74.95The Berlin Rag (Concert Band - Score and Parts) - Blinko, Timothy
The Berlin Rag evokes the rich harmonic sound-world of 1920s Berlin and contemporary jazz, fused with the technique of American Ragtime. The scoring is highly colouristic in nature, and has avoided any weighty doublings. There are also many solo opportunities for all the principal players, either chamber-like combinations, duets or solo lines. The magical crunchy effect of the tutti band is reserved until the end where it is finally released in a blaze of brass writing, spiked with timpani and percussion.
Estimated delivery 7-14 working days
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£14.95
The Berlin Rag (Concert Band - Score Only) - Blinko, Timothy
The Berlin Rag evokes the rich harmonic sound-world of 1920s Berlin and contemporary jazz, fused with the technique of American Ragtime. The scoring is highly colouristic in nature, and has avoided any weighty doublings. There are also many solo opportunities for all the principal players, either chamber-like combinations, duets or solo lines. The magical crunchy effect of the tutti band is reserved until the end where it is finally released in a blaze of brass writing, spiked with timpani and percussion.
Estimated delivery 7-14 working days
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£149.99
Cossack Folk Dances (Wind Band - Score and Parts)
The Cossacks played an integral part in Russia's history which finally ended with the Soviet occupation in the 1920s. Franco Cesarini had the opportunity to attend performances by an ethnic group of Cossacks from Kuban. He was deeply touched by the beauty of the songs and traditional dances of the Cossacks and has written this work for concert band which faithfully retains the essential spirit of this seductive music.Duration:10:40
Estimated delivery 7-14 working days
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