Results
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£163.0060 Warm-up Chorales for Concert Band
During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages.After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective.While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure.He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself!Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging.Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications.Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted.The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations.The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major.With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians' awareness of phrasing, the right interpretation of cadences, rubato and agogic.Above all, never do anything without putting the musical aspect in the foreground. 60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!
Estimated dispatch 7-14 working days
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£175.0060 Warm-Up Chorales (Concert Band - Score and Parts) - Cesarini, Franco
During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organised according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians' awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground. 60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!
Estimated dispatch 7-14 working days
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£164.95Elgar Variations (Concert Band - Score and Parts) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95Elgar Variations (Concert Band - Score only) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£139.99Aroldo (Concert Band - Score and Parts) - Verdi, Giuseppe - Cesarini, Franco
Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period and the finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.Duration: 8:45
Estimated dispatch 7-14 working days
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£154.60Den store dagen - Benny Borg
This beautiful song contains a huge contrast between the hopeful and the disappointing. A mother has her birthday and is waiting her children to celebrate it. Each verse starts optimistically, but the short chorus is characterized by the disappointment, that everyone calls, and cannot come. This has been tried recreated musically, mostly in the last two choruses, as it dawns on her that she will not receive a visit. It's a beautiful tune, but with a serious message that it's easy to take someone for granted.One of the elements the musicians came up with after rehearsal, was that they really liked the change between the ballad parts with even eights and the swing parts. This also gives the piece a sense of "parlando" character, which tells a story, and is therefore important to focus. It is not quite simple, as the melody also in those parts with even eights has some triplet rhythms. Therefore, this is a topic you can work on.Regarding instrumentation, Flugelhorn, Alto Saxophone and Euphonium have important roles, in addition to the rest of the first parts in the Band. The arrangement is written so you are not depending on "special" instruments. Important details are also often duplicated so you can use the arrangement for a smaller Wind Band.It is also possible to use a vocal soloist, but then you must soften the instruments that holds the melody.
Estimated dispatch 7-14 working days
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£279.99Van Gogh (Concert Band - Score and Parts) - Doss, Thomas
This composition is not a work inspired by the life of the famous painter, but rather an attempt at a pictorial immersion into his world. In addition to Van Gogh's character and tragic life, the technique he employed to create his works, the bright colours of his paintings and his view of nature served as inspiration for this musical work. Point by point, stroke by stroke, Van Gogh brought his own world to life on canvas.On the life of Van Gogh: The Dutch artist Vincent van Gogh was one of the most important pioneers of Modernism, despite being relatively unknown during his own lifetime. As an artist, he chose a life of poverty and seclusion. From today's perspective, his important woks were created from 1880 onwards, when he had already more or less succumbed to madness. While his earlier works could still be classed as contemporary, he matured into a pioneer of Expressionism with his later work indicating an increasing self-awareness. He was just 37 years old when he died but he created over 750 paintings and 1600 drawings in the last ten years of his life.The structure of the work:Start: Brushes and Paints: Van Gogh retired to Arles in southern France where he found his artistic home. The colours and flowering gardens of this landscape awakened in him an unbelievably great creative power.A: A Picture Comes into Being: Van Gogh's psychotic episodes and bouts of depression did not stop him from painting wonderful pictures. Hardly anyone recognised his genius during his lifetime, on the contrary, he often felt misunderstood.C: Paris - Arles: In Paris (from 1886), Van Gogh became inspired by the French art scene. His works found few takers, however. He met and befriended the painter Paul Gauguin, but the lack of success made Van Gogh short tempered, and he began to drink. Eventually, he moved from Paris to Arles in the south of France to establish an artists' collective with Gaugin. Within a few weeks, the two got into such a violent argument that Van Gogh attacked his friend with a knife. The friends parted ways and afterwards Van Gogh cut off his right ear. In 1889 he voluntarily admitted himself into a mental hospital at St. Remy, suffering from hallucinations and fearing that he would lose his mind.G: The Starry Night One of his most famous paintings, created in 1898.H: Death and Brotherly Love Vincent van Gogh accepted an invitation to Auver-sur-Oise in 1890. This was one of his most intensive creative periods. He also went there for treatment, but his mental state hardly improved. After an extended walk, he injured himself fatally with a pistol under mysterious circumstances. Not even to his beloved brother Theo, who had supported him all his life, did he reveal on his deathbed how the accident had occurred.J: Art Market Today, Van Gogh's paintings are among the most expensive paintings on the art market. How ironic, given that he could hardly sell a painting during his lifetime. "I put my heart and soul into my work and lost my mind in the process." (Vincent van Gogh)Duration: 13.15
Estimated dispatch 7-14 working days
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£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
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.Duration: 14.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
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.Duration: 39.00
Estimated dispatch 7-14 working days
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£154.95
Two Poems of Robert Frost - David Campo
Robert Frost (1874 - 1963) was one of the most popular, widely read and honored American poets of the 20th century; the two of his poems arguably most popular in the mainstream are "Stopping By Woods On A Snowy Evening" and "The Road Not Taken." On the surface, these two poems appear quite different; "Stopping By Woods On A Snowy Evening" is contemplative, set in the quietude of a winter night's snow, while "The Road Not Taken" is decisive, kinetic and brightly lit by a morning sun. These similarities and differences resonated deeply with the composer, and the opportunity to set recurring themes and melodies in such contrasting musical environments was the impetus and inspiration for this two movement work. Both movements conjure the remarkably different atmospheres of the respective poems but are interconnected thematically, giving the work cohesion and depth. Both are strikingly colorful and evocative. While the poems are not set literally, there are recurring allusions to the words present in the rhythm, particularly in the phrase "and miles to go before I sleep," as this line seems to especially reflect the physical and spiritual duality of both poems.
Estimated dispatch 7-14 working days
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