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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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£244.00Stratoscape - Gauthier Dupertuis
Stratoscape, by Swiss composer Gauthier Dupertuis, is a colorful and contrasting work for wind orchestra, depicting the view of our earth as seen from the stratosphere. This voyage into the sky is pictural, but also metaphorical, as it is also about distancing from our world. br>The work is divided into five sections:I Ignition!, II Broadness & The Big Blue, III Stars Shining from Down to Above, IV Destructive Forces, V One and Only HomeFive contrasting movements, starting with Ignition in which Gauthier Dupertuis tries to musically convey the majesty of our planet seeing if from the atmosphere, ending with One and Only Hope, as the title say, a message of hope. In between three movements that depict the broadness of the landscapes of our planet (second movement), the fragility of our earth at night with only the stars shining (third movement). But also sheer reality in the fourth movement when the composer translates into music the damage caused to our planet by us human beings. Stratoscape: a fantastic view of Planet Earth!
Estimated dispatch 7-14 working days
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£39.95Three Movements from Requiem - Gabriel Fauré
Faur's Requiem in D minor Opus 48 was composed between 1887 and 1890 and comprises seven movements, three of which have been chosen to make up this arrangement for wind orchestra. The Pie Jesu, Libera Me and the In Paradisum are the 4th, 6th and 7th movements from the Requiem and in this 3-movement arrangement, the gentle and relaxing outer movements envelop the drama of the central one.
Estimated dispatch 7-14 working days
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£106.00Intrada Furiosa - Gauthier Dupertuis
Intrada Furiosa by young Swiss composer Gauthier Dupertuis is an energetic opener for wind orchestra, featuring brilliant fanfare writing for brass and challenging lines in the woodwinds, as well as more lyrical parts. One of the goals of FC Music Publishing is to promote and develop the talent of young composers. The publication of Intrada Furiosa as the first work by Gauthier Dupertuis is a resounding example of this.
Estimated dispatch 7-14 working days
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£143.00Psych et ros - César Franck
Csar Franck, composer, pianist, organist and music teacher, completed Cupid and Psych, his sixth and last symphonic poem in 1887. It was first performed in Paris in 1888 and was a complete success, but the piece later fell completely into oblivion, and it was only thanks to some meticulous research that it has returned to concert halls. The intricate love affair between Psyche and Cupid is an original story of the Metamorphoseswritten in the 2nd century AD by Apuleius. The tale is about overcoming obstacles in love and their final union. The symphonic poem is divided into three parts and calls for a choir. The movement that is the subject of this arrangement, Psych et rosis positioned at the end of the second part.Franco Cesarini's version for wind orchestra carefully illustrates the nuances of the instrumental colours, and represents a real test aimed at demonstrating the musicality and interpretative skills of orchestras and their conductors.
Estimated dispatch 7-14 working days
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£126.50Beating Beats - Jan Van der Roost
Beating Beats rhythmically is a rather special piece: more conventional metres are manipulated in such a way that the listener (without score) may be confused and even misled at various points! The 'regular four beat accents in a 4/4 measure for example are often not adhered to, giving the impression of a different metre altogether. However, at the same time it may be that some instruments do follow this "normal" 4/4 metre, thus confusing everyone - performers and listeners alike! On one hand, it is a "simple" piece with very playable and melodic themes, but their mysterious rhythmic makes it not only sound more complicated, but also makes for a greater challenge for both players and the conductor! As is mostly the case with Jan Van der Roost's works, the orchestration is both colourful and contrasting, with every section of the modern wind orchestra used equally. All in all, it's a work full of surprises with some unexpected harmonies and special melodic lines but above all, with metrical and rhythmical sure to catch you unawares!
Estimated dispatch 7-14 working days
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