Results
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£84.99
Millennium Fever - Johan Nijs
The new millennium inspires curiosity, optimism, and fear of the unknown. Belgian composer Johan Nij composed Millennium Fear to capture the uncertainty of this monumental event. The piece combines dynamic sounds, feverish rhythms, and surprising sound textures in the dialogues between different instrument groups. The piece expresses the thoughts and feelings many have toward the new millennium.
Estimated dispatch 7-14 working days
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£102.99Little Suite - László Dubrovay
This work was written in 2005, prompted by the composer's determination that young members of junior, music school and conservatoire wind ensembles should not be limited to transcriptions for lack of original compositions, especially contemporary ones. The new devices used in the Little Suite are suitable for student players to try out. Indeed, they enjoy them - for instance, purring or whistling into the instrument. Each of the three-or-four-minute movements of this four-movement work can also be performed separately. The titles of the movements are the following: 1. In cheerful mood, 2. Song, 3. Joke, 4. March. This music in modern idiom, full of interesting new effects, offers young players an opportunity for enjoyable music-making together, and at the same time prepares them for playing more difficult contemporary works.
Estimated dispatch 7-14 working days
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£115.50Unidad en Rtmo - Michele Fernández
This new work by Michele Fernndez is a wonderfully inventive addition to the concert band repertoire. Using her experience in the Jazz medium, Michele brings us an Afro-Lartin tribute, intended to be a work based on cultural unity. A wonderful new work for the advanced concert band.
Estimated dispatch 7-14 working days
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£93.50Exhale - Sean O'Loughlin
Exhale is a wonderful new soundscape for concert band using dynamics and tiered orchestration to create breathing-like sound effects. Composer Sean O'Loughlin has crafted a festival-worthy overture with a fresh new sound!
Estimated dispatch 7-14 working days
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£93.50Land of Enchantment - Carol Brittin Chambers
Heavily inspired by one of the Composer's favorite places on earth - Land of Enchantment pays tribute to the beautiful landscape of New Mexico. Sound effects and clever scoring make this new work by Carol Brittin Chambers truly...Enchanting!
Estimated dispatch 7-14 working days
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£93.50The Legend of Lorelei - Larry Clark
This programmatic work, based on the ancient and legendary warrior Lorelei, is a great new work for contest & festival performance. Scored with reduced instrumentation with only 2 Bb Clarinet & Trumpet lines and limited Saxophone, Horn in F and Low Brass - this exciting new work for band will work great for smaller bands and still sound big and full with larger ones.
Estimated dispatch 7-14 working days
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£93.50Golden Panther March - Robert Sheldon
If a traditional march could be called "fresh and new!" The Golden Panther March would check every box. Composer Robert Sheldon has given us a wonderful new march in 6/8 that has all the calling cards of a traditional style march, perfect for contest & festival performance, with all of the modern charm we have come to love from this beloved composer. As well-suited to a concert opener as it is to an enthusiastic encore, the Golden Panther March will be the hit of any concert.
Estimated dispatch 7-14 working days
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£228.70Montain Songs and Arias - Stig Nordhagen
I have always had a love for both classical and folk music.It is in between these expressions I thrive while composing.This piece contains both fast and lingering alternations between these expressions, complementing each other and creating a whole. This whole creates something larger than just the two individual constituents, a new entity. So with the classic (Arias) and folk music (Mountain songs), I want to create something new where the expressions enhances each other, and merges into an elevated state.- Stig Nordhagen
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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£140.50
Fantaia in G Major - Johann Sebastian Bach
A true wind band classic is presented here with a new recording and transcription as a refresher for experienced band directors and as an introduction to new band directors. It was made famous by Fredrick Fennell in his recordings with the Cleveland Winds, along with countless other fantastic performances and recordings over the years. Originally written for organ, this transcription stays very true to the original intent. One can practically hear the registration changes of the organ when playing this well-written standard in the wind band repertoire.
Estimated dispatch 7-14 working days
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