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£84.99Variations on a Theme by Elgar - Árpád Balázs
In rpd Balzs's diverse and varied oeuvre, works for wind orchestra play a prominent role alongside choral music. He composed the Elgar Variations in 2022 on the theme of one of Edward Elgar's (1857-1934) short early works (Love's Greetings, 1888). As rpd Balzs writes ''The theme I used as the starting point for my work may already be considered a variation, since I 'peeled off' the dense ornamentation and the tonicisations from it, and what remained was the melody, beautiful in its own place. What come back from time to time from the theme in the variations are: the arched structure, the double peak point, and mostly the major sixth leaping downwards, then upwards. The modest, transparent orchestration, which then is amplified at the repetition of the theme is also a defining feature. There is a personal family secret hidden in the third variation: a late compliment to a loyal spouse for the past half century... The closing variation is calm and quiet - similarly to the chorale-like slow movement in Bla Bartk's 3rd Piano Concerto. It is like a message from an old composer to the Future.'' The Elgar Variations together with the Concertino (1992, Z. 14909) and the Rhapsody (2015-2021, Z. 15167) form an ambitious, emotionally wide-range trilogy for a concert band.
Estimated dispatch 7-14 working days
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£127.30Mitt hjerte er ditt - Geir Holmsen
"Mitt hjerte er ditt" ("My Heart is Yours") is primarily known with this Norwegian lyrics and melody from Maj Britt Andersen's recording of the song, first released in 1992. Andersen's husband, Geir Holmsen, composed the new music for this recording, a version that has since been performed by numerous other artists, including Anna of the North on "Hver gang vi mtes" in 2022.The lyrics are Alf Prysen's Norwegian translation of Nils Ferlin's Swedish text, originally written to a Swedish folk tune.This is an arrangement written for a vocal soloist and wind orchestra, but it can also be played with instrumental soloists or purely instrumentally. The song has only two verses, so the middle section of this arrangement is an orchestral verse where the melody begins in the lower instruments.
Estimated dispatch 7-14 working days
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£145.50La banda de los guajiros - Sverre Indris Joner
Guajira is both a term for a song form, where most people will recognize the song "Guajira Guantanamera," but also a Cuban word for farmer or fieldworker, as there are many of in the eastern Oriente province of Cuba where this rhythm originated. "La Banda de los guajiros" translates directly to "The Guajira Band."It is composed for wind orchestra by Sverre Indris Joner, who already in 1985 traveled to Cuba to learn the secrets of Caribbean music. The rhythms used in this piece are thoroughly explained in the textbook "Latinmusikkens ABC," which is also published by Noteservice/Norsk Musikkforlag.The piece uses traditional elements from Cuban music such as Guajira, Son Montuno, and Danzn, all falling under the genre of salsa.It is recommended that both conductor and percussionists familiarize themselves with the execution of the different rhythm patterns. Instruments like congas and timbales particularly have a range of different rhythm patterns. The role of the guiro instrument cannot be underestimated. Despite its seemingly simple content, it is the glue that holds everything together!
Estimated dispatch 7-14 working days
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£119.20Sinfonisches Prludium - Anton Bruckner
The Symphonic Prelude in C minor is an orchestral composition from the circle of the Austrian composer Anton Bruckner. The unearthing of this work, discovered shortly after World War II, has created confusion, leading to a second, reduced version being attributed to Gustav Mahler, a theory which still holds sway in musical circles today, although there is a high probability that the original composition is indeed by Bruckner himself. Rudolf Krzyzanowski (1895-1911), a pupil of Bruckner, transcribed the score in 1876. The 43-page manuscript bears the inscription Rudolf Krzyzanowski cop. 1876 on the first page; while on the last page is written in blue pencil: By Anton Bruckner.Thomas Doss used a facsimile of this autograph copy as the basic of his instrumentation of the prelude for symphonic wind orchestra.
Estimated dispatch 7-14 working days
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£118.99Overture to Lysistrata - Mark Adamo
In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orchestra, what with its two saxophones (alto and baritone) and lavish use of mallet percussion. But here, Peter Stanley Martin's deft and artful arrangement perhaps expresses the character of the music even more eloquent;y than the orchestral version does. - Mark Adamo
Estimated dispatch 7-14 working days
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£69.00Kew Bridge - Alastair Wheeler
Kew Bridge is a tribute to Gustav Holst and his compositions inspired by locations along the river Thames. It was written for the Kew Wind Orchestra and premiered in March 2022.
Estimated dispatch 7-14 working days
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£69.00Abendsterne - Michael Geisler
The lyrical piece 'Abendsterne' was written for solo trombone and wind orchestra. The soloist can really unfold in this ballad. Solo partsDownload the trombone solo part here: downloadDownload the horn solo part here: download
Estimated dispatch 7-14 working days
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£123.203 Letzte Motetten - Anton Bruckner
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.
Estimated dispatch 7-14 working days
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£67.50Christus factus est - Anton Bruckner
Thomas Doss orchestrated this inspiring and very playable transcription of Christus factus est (WAB 11), the motet written by Bruckner in 1884, for wind orchestra. After Messe fr den Grndonnerstag from 1844 and a motet for eight-voice mixed choir, three trombones and string instruments ad libitum from 1873, this was Bruckner's third setting of the Latin gradual (Gregorian chant) of the same name. Wagner's influence can be clearly heard.
Estimated dispatch 7-14 working days
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£256.0014 Motetten - Anton Bruckner
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.
Estimated dispatch 7-14 working days
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