Results
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£89.99Victory at Sea - Richard Rodgers
This powerful, dramatic score by Richard Rodgers has established itelf as one of the most impressive works of its type for mature concert band.
Estimated dispatch 7-14 working days
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£83.00RAF March Past - Walford Davies
This march, with its rousing and sweeping melodies, is one of the most attractive of all military marches. It is a colorful and spirited work with immediate appeal. Duration: ca. 3 minutes.
Estimated dispatch 7-14 working days
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£64.99Highlights From Annie - Charles Strouse
Featuring a wealth of catchy tunes and a heart-warming story, Annie has become one of the most popular Broadway musicals of all time. Here is a great-sounding medley for young bands by Johnnie Vinson that includes: It's a Hard-Knock Life, I Don't Need Anything but You, Maybe and of course, Tomorrow.
Estimated dispatch 7-14 working days
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£64.99Annie, Highlights from (Concert Band - Score and Parts) - Charnin & Strouse - Vinson, Johnnie
Featuring a wealth of catchy tunes and a heart-warming story, Annie has become one of the most popular Broadway musicals of all time. Here is a great-sounding medley for young bands by Johnnie Vinson that includes: It's a Hard-Knock Life, I Don't Need Anything but You, Maybe and of course, Tomorrow.
Estimated dispatch 7-14 working days
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£59.40Colonel Bogey (Concert Band) - Alford, Kenneth J.
A wonderful new edition of the most famous of all British marches, it's perfect for concert or contest performances. Skillfully edited and arranged by march expert Andrew Glover.
Estimated dispatch 7-14 working days
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£62.37
El Relicario
One of the most famous and best loved paso dobles ever written. Presented here in a new setting for band that reveals all of its fiery rhythms and sweeping Spanish melodies. .
Estimated dispatch 7-14 working days
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£49.50Step By Step (Concert Band - Score and Parts)
An impressive overture by one of the most popular composers of music for young bands. Perfect as a concert or contest piece, it's fresh melodies and tasy scoring makes this a 'can't miss' anytime it is performed.
Estimated dispatch 7-14 working days
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£209.99Machu Picchu - Satoshi Yagisawa
Commissioned for the Ensemble Liberte Wind Orchestra, Kawaguchi City, 30th Anniversary ConcertExplaining the significance of Machu Picchu begins with remembering the Incan empire at its zenith, and its tragic encounter with the Spanish conquistadors. The great 16th century empire that unified most of Andean South America had as its capital the golden city of Cuzco. Irresistible to Francisco Pizarro, while stripping the city of massive quantities of gold, in 1533 he also destroyed Cuzco's Sun Temple, shrine of the founding deity of the Incan civilization.While that act symbolized the end of the great empire, 378 years later an archeologist from Yale University, Hiram Bingham, rediscovered "Machu Picchu", a glorious mountaintop Incan city that had escaped the attention of the invaders. At the central high point of the city stands its most important shrine, the Intihuatana, or "hitching post of the sun", a column of stone rising from a block of granite the size of a grand piano, where a priest would "tie the sun to the stone" at winter solstice to insure its seasonal return. Finding the last remaining Sun Temple of a great city inspired the belief that perhaps the royal lineage stole away to this holy place during Pizarro's conquest.After considering these remarkable ideas I wished to musically describe that magnificent citadel and trace some of the mysteries sealed in Machu Picchu's past. Three principal ideas dominate the piece: 1) the shimmering golden city of Cuzco set in the dramatic scenery of the Andes, 2) the destructiveness of violent invasion, and 3) the re-emergence of Incan glory as the City in the Sky again reached for the sun.(Satoshi Yagisawa)
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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£295.00Enduring City (Concert Band - Score and Parts) - Glyn, Gareth - Noble, Paul
Enduring City was composed to celebrate the 300th anniversary of the founding of New Bern, the first permanent seat of the colonial government of the state of North Carolina. It was first settled in 1710 by Swiss and German immigrants under the leadership of Christoph von Graffenried and and John Lawson. The 2010 composition was commissioned by the New Bern 300th Anniversary Committee and the City of New Bern, to portray the city in terms of its history, its present and its optimism for the future; the North Carolina Symphony gave its first performances, in venues throughout the state. Its one continuous movement is in well-defined sections. Most of the musical themes derive from names of people and places connected with New Bern, using letters that are also note-names, omitting those which are not. For example, the opening trumpets spell out E-B-E-D for New Bern ('R' standing for Re, which is D in fixed-doh sol-fa notation) and B-C-G for Baron Christoph von Graffenried. They are answered by the orchestra's "John Lawson, Gent.", the name on the cover of the co-founder's A New Voyage to Carolina. Lawson's questing and adventurous character is then suggested, accompanied by a "Carolina" note-name theme; and, after the Graffenried theme on solo horn, the music of both men combines for their voyage, culminating (on trumpets and trombones) in the founding of New Bern. The story of Tryon Palace, central to the city's history, is represented by echoes of the various kinds of music heard at the Governor's residence - fife and drum bands, minuets and the slaves' "Jonkonnu" festivals from Africa, celebratory fanfares and fireworks; the section reaches a climactic ending when all are combined. After a peremptory interruption by the snare drum, the perky fife theme is transformed to portray the conflicts that visited New Bern over the centuries, alternating with a new "grief" theme, which - when sounded by strings alone - leads to music of reconciliation and then of the natural beauty of the city's surroundings. A steady, lively rhythm underpins the final section, confidence - in the present and for the future. Echoes of previous themes are heard, but the closing peroration is reserved for a majestic and joyous statement of the name of New Bern itself.
Estimated dispatch 7-14 working days
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