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£29.99
Meditation on St Clement - David Chaulk
Inevitably, comparisons will be made with Philip Wilby's setting of the same hymn tune so It's interesting to note that this arrangement was done in 1983 - ten years prior to Wilby's very fine arrangement. It's being published now in response to many requests from bands around the world and will make an excellent addition to the sacred repertoire of brass and concert bands.
Estimated dispatch 7-14 working days
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£54.95
Shine! - Barrie Gott
Barrie Gott, originally from Sheffield, now living in in the suburbs of Sydney Australia has, in the past, composed 2 very successful swing numbers, entitled 'Light-walk' and 'Swingtime Religion'; here is a brand new third piece to add to the collection. Set around the spiritual 'This little light of mine' it will feature well on most types of concert programme and will be enjoyed by all.
Estimated dispatch 7-14 working days
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£59.95
Where Eagles Sing - Paul Lovatt-Cooper
The inspiration for this piece came when the composer visited Florida and the Bird Sanctuary in Walt Disney World's Animal Kingdom. He was in the audience to see the rare bird's show where he witnessed some fabulous looking and endangered birds that were trained to perform different tricks that wowed the audience. The highlight for him was the conclusion of the show where the most awesome sight greeted us as an American Bald Eagle soared over the audience. That particular breed of Eagle has been a very rare bird of late. With so few in numbers, it nearly became a member of the sad group of animals that are extinct.The host of the show took great delight in informing the audience that the fantastic creature is now officially safe and no longer classed as endangered. This made a great impact on the composer as the Eagle is an amazing bird, huge in size and power and yet so graceful in flight. This piece is everything associated with the Eagle; bold, powerful and graceful and now free to soar and sing in the American homelands.Where Eagles Sing has been hugely successful as a curtain-raiser (or finale) with brass bands around the world and it is hoped that this version for wind band will be just as popular.
Estimated dispatch 7-14 working days
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£87.95A Tamworth Tapestry (Concert Band - Score and Parts) - Wiffin, Rob
A Tamworth Tapestry was commissioned by the Tamworth Wind Band who gave the first performance in Fazeley, Tamworth, on 27 Apr 2024. In composing it I drew on aspects of Tamworth starting with a short malicious outburst to depict the warlike history of the town's Norman castle. From there the music moves into a slow-flowing minor key movement entitled River Tame. The Celtic derivation of the word Tame means dark and slow-moving. The suite ends with a saltarello - Tomsaete. The Tomsaete were an Anglo-Saxon tribe who lived in the valley of the River Tame and remained around Tamworth throughout the duration of the Kingdom of Mercia. There is also a play on words with the band's conductor - Tom Sears. I combined the saltarello with some allusions to various other Tamworth references including Kingsbury Water Park, Drayton Manor Theme Park, Tamworth Pigs and even a reference to the Robin Reliant!Duration: 6.15
Estimated dispatch 7-14 working days
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£17.95
A Tamworth Tapestry (Concert Band - Score only) - Wiffin, Rob
A Tamworth Tapestry was commissioned by the Tamworth Wind Band who gave the first performance in Fazeley, Tamworth, on 27 Apr 2024. In composing it I drew on aspects of Tamworth starting with a short malicious outburst to depict the warlike history of the town's Norman castle. From there the music moves into a slow-flowing minor key movement entitled River Tame. The Celtic derivation of the word Tame means dark and slow-moving. The suite ends with a saltarello - Tomsaete. The Tomsaete were an Anglo-Saxon tribe who lived in the valley of the River Tame and remained around Tamworth throughout the duration of the Kingdom of Mercia. There is also a play on words with the band's conductor - Tom Sears. I combined the saltarello with some allusions to various other Tamworth references including Kingsbury Water Park, Drayton Manor Theme Park, Tamworth Pigs and even a reference to the Robin Reliant!Duration: 6.15
Estimated dispatch 7-14 working days
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£106.99Fair Field Festival (Concert Band - Score and Parts) - Sparke, Philip
Fair Field Festival opens with a brass fanfare under florid woodwind figuration. A noble chorale leads to a lively allegro vivo, which centres around a majestic horn and euphonium melody under chattering woodwinds. A second theme is first stated by trumpets and this leads to a central legato theme on horns and saxes, repeated by the trumpets. A brief allusion to the opening section leads to a full recapitulation and an energetic coda. A work filled with vitality!Duration: 5.15
Estimated dispatch 7-14 working days
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£206.99Omaggio (Euphonium Concerto No.4) (Euphonium Solo with Concert Band - Score and Parts) - Sparke, Philip
Omaggio was commissioned by Steven Mead in celebration of his 60th birthday and in memory of his father, Rex. He gave the premiere of the brass band version in Rome in March 2022, accompanied by the Italian Brass Band conducted by Filippo Cangiamilla. The concert band premiere took place on 6th July that year as part of the 2022 Spanish International Tuba Euphonium Conference, accompanied by the Banda municipal de msica de Malaga.The concerto is set in 3 continuous movements, which are united by a recurring syncopated interval of a fifth. The first movement, Fantasia, opens with this motive accompanying an extended monologue for the soloist. This is followed by a lengthy bridge passage by the band, which is eventually joined by the soloist, who guides the music back to the opening soliloquy, leading to an energetic central section. This develops until the opening material again returns to introduce the second movement, Ballad, which revolves around an expressive melody for the soloist, interspersed by accompanied cadenzas. The third movement, The King Triumphant, pays homage to Steven's late father, Rex, and its title alludes both to Rex's name (Rex being Latin for king) as well as his love of Eric Ball's Salvationist masterpiece, The Kingdom Triumphant. The finale is an energetic tour-de-force featuring an acrobatic 6/8 melody, which is interrupted twice by the magnificent hymn tune, Helmsley, which Ball uses so effectively in The Kingdom Triumphant. A galloping coda brings the work to a close.
Estimated dispatch 7-14 working days
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£102.99Evening Rise (Concert Band - Score and Parts) - Appermont, Bert
Folk Songs from Around the WorldThis work is based on five folk songs from different cultures. Each song brings its own atmosphere and character, giving rise to a musical journey across the world in one continuous whole. Featuring Evening Rise (America), Lo Yisa Goy (Israel), Sakura (Japan), Finnegans Wake (Ireland) and Siyahamba (South Africa). The Native American song Evening Rise functions as a sort of chorus and thus creates a certain unity; each time the melody is arranged in a different way.Duration: 7.45
Estimated dispatch 7-14 working days
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£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 14.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the modernity of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 39.00
Estimated dispatch 7-14 working days
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