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£109.99Catedrales - Bert Appermont
Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions, drawing on a full palette of acoustic echo effects, Gregorian melodies and organ based choral themes.The work "Catedrals" opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme "Salve Regina" which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms, including a fugue. The work then builds towards its first climax, from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually, more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral, emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.
Estimated dispatch 7-14 working days
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£139.99The Heaven Tree - Thierry Deleruyelle
The Heaven Tree is based on the fi rst book in an intensely imagined trilogy by author Edith Pargeter. Set during the golden age of cathedral building, this adventure novel explores the splendour and cruelty of the Middle Ages. Thierry Deleruyelle's work is an ideal accompaniment to the novel. With an obvious sense of suspense, his music helps us get in touch with a distant reality that brings the past to life.
Estimated dispatch 7-14 working days
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£104.99Canterbury Chorale - Jan Van der Roost
This quiet piece with its broad tones was originally written for brass band on request of Robert Leveugle, chairman of the composers own band: Brass Band Midden Brabant (Belgium). The direct cause was a visit to the beautiful cathedral of theEnglish city Canterbury, in which so many fine compositions sounded throughout the centuries. Later on, Jan Van der Roost rescored this piece for symphonic wind band, exploring the full richness of colours of this formation. Besides solo phrases forseveral instruments, there are some massive tutti passages making the wind orchestra sound like a majestic organ. By the way: an "ad libitum" organ part adds an extra richness, colour and power to this piece, making it sound even more broad andgrand.
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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£95.995 Tantum Ergo (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. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.Duration: 11.00
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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£54.95The Light of the World (Concert Band - Score and Parts) - Goffin, Dean - Wiffin, Rob
This reflective piece was inspired by a painting of one of the founders of the Pre-Raphaelite Brotherhood, William Homan Hunt, and is currently hanging in St Paul's Cathedral. Based around the text of Revelation 3:20, it is a beautifully crafted piece which demands the utmost respect. Duration: 5.45
Estimated dispatch 7-14 working days
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£10.95
The Light of the World (Concert Band - Score only) - Goffin, Dean - Wiffin, Rob
This reflective piece was inspired by a painting of one of the founders of the Pre-Raphaelite Brotherhood, William Homan Hunt, and is currently hanging in St Paul's Cathedral. Based around the text of Revelation 3:20, it is a beautifully crafted piece which demands the utmost respect. Duration: 5.45
Estimated dispatch 7-14 working days
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£134.99St Stephen's Chorale (Concert Band - Score and Parts) - Schwarz, Otto M.
As a source of inspiration, the composer used the dazzling, impressive and beautiful world-famous St. Stephen's Cathedral, the Stephansdom, in Vienna. Often seen as a national symbol of Austria, it stands in the heart of Vienna and has 14 bells, each with its own name. At the beginning of the work, you can hear the ringing of the bells. The main melody softly emerges from this soundscape and returns repeatedly in various instrumentations and different harmonisations. Following a fortissimo section, the hymnal melody ebbs and fades away, the same way it appeared at the beginning. St. Stephen's Chorale is a solemn moment of contemplation in your concert.Duration: 7.00
Estimated dispatch 7-14 working days
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£225.00Lord, Thou Hast Been Our Refuge (Concert Band with Optional Choir - Score and Parts) - Rutter, John - Noble, Paul
Lord, thou hast been our refuge (2008) was written for the annual City United Guilds service in St Paul's Cathedral for SATB choir, solo trumpet, and organ. This impressive and stately setting of verses from Psalm 90 culminates in a jubilant, maestoso final section. The arrangement is written to accompany the chorus, or may be performed by band alone. The trumpet solo is haunting, and will be a showcase for that performer. The work would suit any festive service or concert.
Estimated dispatch 7-14 working days
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