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£309.99Symphony No. 9, Op. 160 - James Barnes
Premiered on September 21, 2018 in Lawrence, Kansas by the University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, This is my last symphony... this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band. The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that I have always wanted to write a waltz, and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an otherworldly mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color.
Estimated dispatch 7-14 working days
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£309.99Ninth Symphony (Concert Band - Score and Parts) - Barnes, James
Premiered on 21 September, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, "This is my last symphony...this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band." The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that "I have always wanted to write a waltz," and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto Flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an "otherworldly" mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color. Duration: 40.00
Estimated dispatch 7-14 working days
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£84.95Partita (Concert Band - Score and Parts) - Gregson, Edward
Partita' was originally composed for brass band in 1973. The work is in three movements, and uses material based on the 13th century plainsong 'Dies Irae". the opening Intrada is sombre. the second movement is a 'chorale and variations. the chorale melody follows the main outline of the plainsong. the five variations are varied in mood and intensity. the final March is much happier in mood and has a lyrical tune in the middle first heard on horns. However, references to the 'Dies Irae' are still apparent and the final bars of the work contain a quote from the opening movement.
Estimated dispatch 7-14 working days
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£16.95
Partita (Concert Band - Score Only) - Gregson, Edward
Partita' was originally composed for brass band in 1973. The work is in three movements, and uses material based on the 13th century plainsong 'Dies Irae". the opening Intrada is sombre. the second movement is a 'chorale and variations. the chorale melody follows the main outline of the plainsong. the five variations are varied in mood and intensity. the final March is much happier in mood and has a lyrical tune in the middle first heard on horns. However, references to the 'Dies Irae' are still apparent and the final bars of the work contain a quote from the opening movement.
Estimated dispatch 7-14 working days
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£118.99North Hills Fantasy - Philip Sparke
North Hills Fantasy was commissioned by the North Hills High School Bands, Pittsburgh, Pennsylvania (director: Len Lavelle) as part of a commissioning programme that has run since 1965 - the longest of its kind in the USA. The work opens with a reflective, unaccompanied solo for alto saxophone which develops into a chorale for horns and saxes. This is taken up by the trumpets and subsides to a change of key and mood, with highly decorated folk-like solos for clarinet, bassoon and saxes. These solos build to a climax for full band, which heralds a triumphant return of the horn chorale, accompanied by florid woodwind figuration. But the mood soon winds down; fragments of earlier melodies return calmly to peacefully close the work.
Estimated dispatch 7-14 working days
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£82.50Incantation and Shadow Dance - Barry E. Kopetz
Incantation and Shadow Dance is a musical representation of the appearance of the witches in the Shakespeare play "Macbeth." The piece opens with two exceptionally long and emotionally charged measures, the mood slowly building, much like "chanting over a cauldron," dark, mystical and enchanting, invoking the spirits of the night. Then everything changes very abruptly, as a rhythmic introduction announces the appearance of the spirit dance. It represents a "dance macabre" and as such, brings a sense of impending evil and darkness to the mood until the full complement of spirits are now dancing around the fire. The gathering of "storm clouds" heralds the appearance of all manner of dark and sinister creatures joining the dance which builds to climax as all the spirits gather for the final frenzied finale.
Estimated dispatch 7-14 working days
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£118.99North Hills Fantasy (Concert Band - Score and Parts) - Sparke, Philip
North Hills Fantasy was commissioned by the North Hills High School Bands, Pittsburgh, Pennsylvania (director: Len Lavelle) as part of a commissioning programme that has run since 1965 - the longest of its kind in the USA. The work opens with a reflective, unaccompanied solo for alto saxophone which develops into a chorale for horns and saxes. This is taken up by the trumpets and subsides to a change of key and mood, with highly decorated folk-like solos for clarinet, bassoon and saxes. These solos build to a climax for full band, which heralds a triumphant return of the horn chorale, accompanied by florid woodwind figuration. But the mood soon winds down; fragments of earlier melodies return calmly to peacefully close the work. Duration: 5.30
Estimated dispatch 7-14 working days
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£125.00
Danceries (Set II) - Kenneth Hesketh
Danceries Set II was commissioned by Keith Allen and Birmingham Symphonic Winds, supported by PRS for Music Foundation and the RVW Trust. The world premire of this work was given by Birmingham Symphonic Winds, conducted by Keith Allen, at the CBSO Centre, Birmingham in 2011. This second set of Danceries continues the format established in Danceries (Set I), namely in using material taken from Playford's Dancing Master, a collection of folk and popular tunes published in the seventeenth century, to form the basis of an extended dance suite. In this set, the melodies have been more abstracted and project only a distant echo of their original forms, but as before, each movement is self-contained, colourful and direct, with its own distinct mood.The outer movements - Jennie's Bawbee and Peascod's Galliarda - share a use of driving percussion writing with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances. Danceries has come of age!
In stock: Estimated delivery 1-3 days
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£62.00Bad King Wenceslas
Bad King Wenceslas is a playful twist on the familiar Christmas carol Good King Wenceslas. Throughout the piece, rhythmic and melodic motifs from the carol are presented in a dark, mysterious context. The introduction features an ostinato in the flute, building in momentum before revealing the melody in double time in the lower winds. The piece progresses with alternating eighth-note patterns and a variety of thematic development, culminating in a canon that features different instrument sections. The piece transitions through a dramatic key change and ends with fanfare motifs in the brass. The conductor should ensure that the melody remains balanced throughout, and all percussion parts are integral to the mood and momentum.
Estimated dispatch 12-14 working days
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£84.99Hungarian Rondo - Árpád Balázs
The Hungarian Rondo by rpd Balzs is cheerful, good-humoured music, a finely formed work crafted withgreat professional skill. Its structure is clear: the double recurrence of the rondo theme results in a five-part form. The two episodes differ in character. The first consists of increasingly densely woven imitations that chase eachother playfully, the second evokes the mood of bagpipe tunes. In the latter, above the melody moving evenly in crotchets in the middle parts a pastel-tinted cloud of woodwind notes floats upwards, while the sound is extended downwards by the deep-toned brass stepping lower by semitones. A brilliant device by the composer! In thecourse of its repeats the rondo theme appears more and more richly garbed, particularly the sparkling semiquavers of the woodwind make it ever more decorative. The Hungarian Rondo is the kind of music that drives your cares away.
Estimated dispatch 7-14 working days
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