Results
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£84.99
Elegy - Melvin L. Shelton
A touching and intense memoriam piece, the mechanics are on the easy side of Grade 4, but the demand for tone quality and control in tenuto passages and long slurred phrases calls for the best of musicianship from any group. The "Adagio e Rubato" tempo indication invites the kind of wonderfully expressive ensemble playing that should probably make up a larger part of band literature than it does today. Over a quiet unifying heartbeat from the timpani, the band explores the emotions felt after a tragic personal loss. A soaring F Horn solo (cued in Trumpet. and Alto Saxophone) leads poignantly toward a gentle Orchestra Bells and Wind Chime ending.
Estimated dispatch 7-14 working days
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£37.95
Lullaby for Clarinets
This is a wonderful way to feature the lyrical playing of your beginning clarinet section. A simple accompaniment in 3/4 provides a nice background for the beautiful melody presented by the clarinets. Plenty of cues are provided, as well as ample amounts of rest, in each part. An excellent choice to teach phrasing, and show off the lyrical abilities of your band.
Estimated dispatch 7-14 working days
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£279.99Analecta Varia - Harrie Janssen
Harrie Janssen composed Analecta Varia in memory of Henk van Lijnschooten (1928-2006). He has been of great influence on the Dutch music for wind instruments. As a conductor and as a member of the jury, but above all as a prominent composer. Consists of eight sound studies that can also be performed separately. In each part a particular orchestral aspect is the central point. The eight parts 1. Choral: ensemble in monophonic texture. 2. Air: relatively free line patterns combined with a constant pulse. 3. Pavana: constant rhythmicity culminating in an orchestral tutti. 4. Lullaby: dissonant harmonyabove an organ point in a filigree instrumentation. 5. Chaconne: color and virtuosity combined with a rigid pasacaglian theme. 6. Interlude: antithesis woodwind/brass and followed by a synthesis of the before. 7. Fugue: ensemble in a polyphonic texture. 8. Epilogue: final canto in a preponderating strong dynamic, where a constant euphony has to be pursued.
Estimated dispatch 7-14 working days
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£113.30Via Della Terra - Marco Somadossi
Composing music also involves being able to imagine the sound of something that has no sound of its own. "Via della Terra" is a soundtrack without a film, a story without a narrator; "Via della Terra" is a street in a town, but not just any street, because if a street could tell its story, "Via della Terra" would not know where to start or where and indeed if it should finish. Like all "Vie della Terra", this street in this piece is full of sounds, none of which, however, have ever belonged to it for more than a fleeting moment, just long enough to be reflected here and there and then up and away from the earth, to be lost in the air. The steps of Mozart as a child as he whistled a piece of music, never again to be remembered or written; the philosophical thoughts, or mere everyday cares, uttered to a friend by Rosmini (whispered? or declaimed?); the excited or humorous comments of people who saw Depero's futuristic works for the first time; the voices of marketstall owners, rendered louder and more acute by the noisy crowd of women sorting through the stalls of rustling and colourful silk (so many desires; silent pauses between one item of gossip and the next); the absolute and devastating roar of cannons that violated every corner of the town, injuring bodies and mutilating the memories of its inhabitants... followed by a seeming eternity, as the citizens held their breath, waiting... "Via della Terra" is the old imperial road along which the town of Rovereto was built and has developed. "Via della Terra" is music for an imaginary, impossible and simultaneous representation of all its stories. The composer has always lived in this town, which he dearly loves, and on innumerable occasions he has imagined the voices, smells, people and the lives that have been such a part of it. With his composition, "Via della Terra", Marco Somadossi won second prize (no first prize was awarded) at the XXI Corciano International Competition for original band music in the grade 4 category.
Estimated dispatch 7-14 working days
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£110.00Mount Everest - Kees Vlak
This composition basically consists of three fragments and an epilogue (conclusion):1) Plateaux, 2) Sherpas, 3) Climb. The piece starts with a musical depiction of the deserted plateauxs and mountain peaks of the Himalayas. The mysteriousness of theTibetan country was caused by its inaccessibility to other nations. One even believed that there was a paradise behind the huge mountains; the land of Shangra La. 1) After the sound of a gong, the Asian-like theme arises extremely softly from thedecay of the percussion. In bars 4 and 5 the syllables of Hi-ma-la-ya echo. Then a second theme appears; it symbolises the enchantment of the mountaineers by seeing the Mount Everest. 2) Eastern percussion, very evenly without emotion, sound from thedeserted village of the sherpas. The phrasing is prescribed by the number 'three'. From measure 56 Tibetian monks sing a chant, also with the religious background of the number 'three'. 3) The third part starts of with the sight of the giant MountEverest with an entirely new theme, that is played impressively by the strong low brass instruments of the band, immediately followed by the excited big climbing. The many surprises are depicted by the changing time signatures. Two themes are inconstant battle; the binary Himalaya theme and the ternary Mount Everest theme. Only once there is a steely composure. The registers in which the piece is played increase. The tension rises...Then the peak is reached. A long pause follows before onerealises that one is on top of the world. Slowly the emotions of joy grow and lead to an enormous climax. The first enchanted theme sounds again in total glory.
Estimated dispatch 7-14 working days
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£76.99
Adagio From Clarinetconcerto In Eb - Wolfgang Amadeus Mozart
Despite his short life, Mozart (1756-1791) wrote more than 600 works. The general public is probably mostly familiar with his symphonies and operas. However, his numerous piano concertos are incredibly popular and are played often. In addition, he also wrote one concerto for clarinet, with the world-famous slow middle section. George Moreau has made a faithful arrangement of this piece so you can put your soloist in the spotlight. This work consists of two versions, the original (4 sharps) and an easier part with only one flat for the soloist.
Estimated dispatch 7-14 working days
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£104.99King Arthur - Kees Schoonenbeek
King Arthur is a five-movement suite based on the famous Arthur ledged. It forms part of the 'Easy Band 4' series in which all pieces have ten-part instrumentation (+ percussion) so can be performed by bands who do not have a full compliment of players. Bring a little Arthurian magic to your concert with this easy and exciting suite.
Estimated dispatch 7-14 working days
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£76.99School's Cool - Jacob de Haan
This short, "cool" suite in three movements can be performed with a variety of instruments from a handful of players to a complete concert band. The first movement radiates joy with a powerful 3/4 beat. The second movement is in the style of a pavane, which gives a sense of nostalgia and the final movement forms a cheerful and high-spirited closing with a really funky beat. This wonderful suite has been composed especially for youth musicians and they will all gain great pleasure from performing it.Because of the four-part instrumentation, School's Cool is suitable for smaller strengths, taking into account that it is important to divide parts evenly among the players. Alsoincludes an ad-lib keyboard/piano part to support the ensemble.
Estimated dispatch 7-14 working days
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£104.99Wedding March - Jan van der Roost
Wedding March is, as the name suggests, a festive composition that the composer wrote for the wedding of a good friend. Performed at the 2008 Midwest Band and Orchestra Clinic in Chicago, this piece clearly reflects influences ofMendelssohn and Elgar. It is written in a festive setting, but a beautiful cantabile trio, that is very characteristic of the works of Jan van der Roost, is wonderfully included. An optional organ part is included for those whochose to add a little gloss to their performance. Dur: 5:15 (Grade 4)
Estimated dispatch 7-14 working days
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£84.99Bread and Games - William Vean
'Panem et Circenses', Bread and Games were essential for keeping the citizens of ancient Rome in check. While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights. In 'Bread and Games' William Vean depicts one of the many fights in the antique Colosseum. 1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.2.Swordfight: We can hear that the fights were not mere child's play in this part.On the contrary, they were a matter of life and death and were fought accordingly.3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one's handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public. 4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner's due reward.
Estimated dispatch 7-14 working days
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