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£171.00Passacaglia and Fugue in C minor BWV 852 (Concert Band - Score and Parts) - Bach, Johann Sebastian - Cesarini, Franco
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord. Duration: 12.45
Estimated dispatch 7-14 working days
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£159.99Tribute to a Maestro (Concert Band - Score and Parts) - De Haan, Jan
Tribute to a Maestro is an homage to Jean-Philippe Rameau (1683-1764), one of the most important French Baroque composers. Rameau was a hugely significant composer, organist, harpsichordist and music teacher: he also published several authoritative books on music theory. Jan de Haan based this tribute on a theme from Les Sauvages (The Savages), the fourth act of Rameau's ballet-opera, Les Indes Galantes (The Amorous Indies). The work begins with two variations, whereupon the striking theme can be heard. After a short intermezzo, four more variations follow, of which the last one is composed in Baroque style.Duration: 12.00
Estimated dispatch 7-14 working days
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£89.95Variations on 'Laudate Dominum' (Concert Band - Score and Parts) - Gregson, Edward - Wiffin, Rob
The theme is a noble hymn tune by Sir Hubert H. Parry, associated with the words 'O praise ye the Lord'. There are seven contrasting variations that will provide much interest to the player as well as the listener, the seventh of which is a fugato which leads into a triumphant finale where the theme is heard for the first time in its completion. This, we feel, will be a significant work for Wind Band as it has been for the brass band movement.
Estimated dispatch 7-14 working days
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£17.95
Variations on 'Laudate Dominum' (Concert Band - Score Only) - Gregson, Edward - Wiffin, Rob
The theme is a noble hymn tune by Sir Hubert H. Parry, associated with the words 'O praise ye the Lord'. There are seven contrasting variations that will provide much interest to the player as well as the listener, the seventh of which is a fugato which leads into a triumphant finale where the theme is heard for the first time in its completion. This, we feel, will be a significant work for Wind Band as it has been for the brass band movement.
Estimated dispatch 7-14 working days
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£64.99Jubilee (Variations on Saints Bound for Heaven) (Concert Band - Score and Parts) - Curnow, James
Based on the shaped note melody Saints Bound for Heaven, Jubilee by James Curnow captures a feeling of joyful celebration through a series of unique and skilfully adapted variations. The opening strains are actually fragments of the first variation and occur before the main tune is introduced by low brass and woodwinds. The second variation features a euphonium solo and builds to a glorious climax with the full ensemble. The final variation is joyful and filled with energy, using flourishes in the woodwinds and fanfares in the brass for a grand conclusion to this marvellous work.Duration: 5:30
Estimated dispatch 7-14 working days
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£164.99Moving Heaven and Earth (Concert Band - Score and Parts) - Sparke, Philip
Moving Heaven and Earth consists of a theme and 4 variations; although the theme is original it contains a phrase heavily influenced by a 14-bar passage from the Libera Me in Faur's Requiem. It is a sequence that the composer finds harmonically compelling and, although it is never quoted directly, it appears in altered form in the theme and each of the variations. In the original, the passage is set to the words: Quando cli movendi sunt et terra (When the heavens and the earth shall be moved) which gave inspiration for the title.Duration: 10:15
Estimated dispatch 7-14 working days
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£102.99Variations on an Austrian Folksong (Concert Band - Score and Parts) - Oswald, Gerald
Hot off the press! Composer Gerald Oswald bases this new work on an old Austrian folksong, O du lieber Augustin! The Augustin in questions is a ballad singer and an ad lib poet who apparently wrote this folksong about himself. His grim sense of humour and his attitude towards life, that humour can get you through anything, are readily apparent in this new piece. Gerald Oswald's Variations on an Austrian Folk Song received top honours at the 2010 Austrian Composition Contest.Duration: 6:45
Estimated dispatch 7-14 working days
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£164.95Elgar Variations (Concert Band - Score and Parts) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95Elgar Variations (Concert Band - Score only) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£150.00Diversions on a Theme of Paganini (Concert Band - Score and Parts) - Lane, Philip - Noble, Paul
This work is made up of eight short movements and was originally scored for brass quintet, being commissioned for performance by the London Gabrieli Ensemble. The full orchestra version was made in 2000 for a commercial recording by the Royal Ballet Sinfonia conducted by Gavin Sutherland, and the band arrangement was completed in 2009. The title is important in that the pieces are more musings than variations on the famous theme. The introduction stands somewhat apart, rather in the way the opening of Dohnanyi's Variations on a Nursery Tune does, and the subsequent diversions play with the theme, or parts of it, in movements lyrical, bombastic, or plain frivolous. The individual titles of the movements are self-explanatory, except to add that the last one always reminds the composer, for some reason, of final credits going up at the end of a film or television programme. Titles of the eight movements: 1. Introduction and Theme; 2. In Pieces; 3. Toccata; 4. Chaconne; 5. Cortege; 6. Popular Song; 7. Five-A-Side; 8. Epilogue. This piece will be a great workout for your band, with lots of opportunities for soloists, some rhythmic challenges, and great emotional stretches.
Estimated dispatch 7-14 working days
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