Results
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£84.99Vienna Festival Music (Concert Band - Score and Parts)
Vienna Festival Music is an opening piece composed in the same style and sound that composer Otto M. Schwarz uses for his great dramatic historical concert works such as Nostradamus, Man in the Ice and The Count of Monte Cristo. This piece features a drum set and an electric bass, creating a kind of crossover sound by combining film music with pop music. For this composition, Otto M. Schwarz received the prestigious Scholarship of the Wiener Symphoniker (Vienna Symphony Orchestra). 03:00
Estimated dispatch 7-14 working days
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£104.99
Solo Bossa (Concert Band - Score and Parts)
This work marks yet another addition to Otto M. Schwarz's catalogue of solo repertoire and will be especially welcome due to the rarity of solos for flugel horn! Groovy accents create an exciting contrast to the more flowing musical elements. Simple improvisations complement the piece, which contains a catchy tune that will stay with anyone who plays or listens to the work.The solo part is also available in an edition with piano accompaniment (1961-13-401 M). 05:00
Estimated dispatch 7-14 working days
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£89.99
Unity Fanfare (Concert Band - Score and Parts)
The Musikkapelle St. Johann in Tyrol commissioned Otto M Schwarz to compose an energetic and exciting fanfare for their band and that is exactly what they got. If you are looking for a work to open your concert with, this is it! Otto M. Schwarz' passion for lm scoring is evident as he e ectively mixes movie sounds into this fanfare. Festive chorales and heart warming melodies culminate in an exciting Finale Furioso! 03:47
Estimated dispatch 7-14 working days
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£79.95Variations on 'Was Lebet' (Concert Band - Score and Parts) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£15.95Variations on 'Was Lebet' (Concert Band - Score only) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£77.22
Costa del Sol
"Costa Del Sol" (Coast of the Sun) creates a musical panorama of the beautiful Mediterranean coastline of the M?laga province in southern Spain. Based upon series of chord progressions common to generations of Spanish flamenco guitarist, David Shaffer has crafted a spirited and beautiful setting of three authentic Spanish folk dance forms, the Corrida, Jota and the Fandango. This energetic and captivating composition opens with a fiery statement reminiscent of the traditional Spanish bullfights. A quick folk dance in ? (Jota) follows, utilizing traditional Spanish percussion. The middle section is introduced with a lush alto saxophone solo leading into a lyrical folk dance (Fandango). The fiery Jota returns in two separate but distinct forms to conclude the piece. An excellent contest piece, "Costa Del Sol" will captivate your audiences with the beautiful imagery of the Spanish countryside.
Estimated dispatch 7-14 working days
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£159.99
Nostradamus (Concert Band - Score and Parts)
Nostradamus is probably the best-known prophet of the last 1000 years. He lived at the time of the Inquisition and his predictions and medical therapies as a physician caused him to face the wrath of the church forcing him to flee many times. Following the loss of his family to the plague he devoted himself to clairvoyancy. He predicted many events in history in coded form and although there are many ways to interpret these, many are believed to be accurate and Nostradamus is still considered to be a unique personality. Whether he is denounced as a charlatan or promoted as a myth he has surely moved humankind with his prophecies.Otto M. Schwarz, soundtrack composer since 2001, wrote a cinematographic work about this man, who is probably the best-known prohet of the last 1000 years. 12:30
Estimated dispatch 7-14 working days
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£139.99
The Golden Age Wind Band Set (Score & Parts)
The Golden Age is a programmatic composition in four movements. I Overture For the Netherlands, the seventeenth century was a period of great flourishing in the fields of economy, culture and politics; thus it is called the Golden Age. Overseas trade boomed, and the Dutch East India Company (known as the VOC by the Dutch) was founded and expanded to become a powerful -and, at the time - modern enterprise. II ?Adios espa?oles!(Farewell, Spaniards!) In 1567, the Spanish army invaded, led by the Duke of Alva. There was a fierce resistance against the Spanish tyranny; toward the end of the sixteenth century, the Dutch proclaimed the Republic. However, the Spanish continued the war. Only with the Treaty of M?nster in 1648 did the Dutch get their much sought-after independence. This was also the end of the Eighty Years' War. III Rembrandt's Night WatchThe field of culture, particularly literature, painting, sculpture, architecture, the art of printing, and cartography developed fast. It was in the Golden Age that the celebrated painter Rembrandt van Rijn created his famous Night Watch. IV The Admiral Overseas trade entailed the colonization of large areas in Asia, from where precious products that yielded lots of money were brought in. Surrounding countries were also involved in such practices. Colonizers poached on each other's territories in the literal and figurative sense - in this context the Anglo-Dutch Sea Wars are legendary. The fourth movement starts with the English patriotic song Rule Britannia, after which the Dutch Admiral Michiel de Ruyter makes the English change their tune; one can even hear the roaring of cannons. When the smoke of battle has cleared, a small fragment of a Dutch song about Michiel de Ruyter appears, followed by a fitting closing. 0:11:30
Estimated dispatch 7-14 working days
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£84.99The Sound of my Life Wind Band Set (Score & Parts)
With this composition, Otto M. Schwarz shows himself totally capable of composing a work with a somber, almost melancholic character. Melody and counterpoint, accompanied by a peaceful harmony, play a kind of question and answer game in this short composition. The piece is written in a rather ABA form, with the perusiion complementing the whole very effectively. 0:03:00
Estimated dispatch 7-14 working days
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£132.00Journey in the Dark (from Symphony No.1: The Lord of the Rings) (Concert Band - Score and Parts) - De Meij, Johan
Revised 2023 editionJohan de Meij's first symphony The Lord of the Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book. The fourth movement describes the laborious journey of the Fellowship of the Ring, headed by the wizard Gandalf, through the dark tunnels of the Mines of Moria. The slow walking cadenza and the fear are clearly audible in the monotonous rhythm of the low brass, piano and percussion. After a wild pursuit by hostile creatures, the Orks, Gandalf is engaged in battle witha horrible monster, the Balrog, and crashes from the subterranean bridge of Khazad-D m in a fathomless abyss. To the melancholy tones of a Marcia funebre, the bewildered Companions trudge on, looking for the only way out of the Mines, the East Gate of Moria.Duration: 9.00
Estimated dispatch 7-14 working days
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