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£149.99Heaven and Earth - Jan Bosveld
An Astrological Composition. Astrology is based on the principle that each sort of time has its own quality. In order to determine the quality of a particular moment, an astrologer looks at the position of the planets in the solar sustemat that moment. Each planet has specific types of energies and its location provides unique information for a certain moment on Earth. Thus: its position in the sky tells something about what happens on Earth. In this composition the typesof energies of four planets are musically translated. The four planet were not randomly chosen. There are two pairs, whose influence and energy are opposite. Venus and Mars. Venus represents the feminine principle: harmony, beauty,art, and the ability to make relationships and to keep the peace. Venus connects, and communicates in order to maintain the balance. Mars represent the masculine principle: winning, impulsiveness, enthusiasm, and sexual energy for procreation.He creates war enabling the strongest to triumph. Mars is musically depicted in a stirring march in which enthusiasm characterises the masculine character. Saturn and Jupiter. Saturn represents concentration and withdrawal: the strongnotion of responsibility, seriousness, self-discipline and melancholy. Saturn is the hermit who will conquer his fears and worries in minimal conditions and by self-chastisement. This contemplative character is depicted in the music as if it isalmost standing still, which also reflects the given character of this planet. Jupiter represents growth and expansion: the positive, self-confidence, the good Samaritan, the healer. Jupiter is the philosopher who will make the world a betterplace, sees future possibilities, and searches for eternal values. He is the prophet who sometimes rants and raves his doctrine and proclamations, resulting musically in a whirling and upbeat finale. not looking back at what has been but searchingfor new challenges. "Heaven and Earth" was commisioned by the Music Lending and Information Centre (MUI), a department of the library for the province of Gelderland in Arnhem, The Netherlands.Een astrologische compositie. Astrologie is gebaseerd op het principe dat elke tijd zijn eigen kwaliteit heeft. ""Tijd voor koffie"" of ""het was je tijd nog niet"" als bijvoorbeeld een baan aan je neus voorbij is gegaan. Om de kwaliteit van een moment te lezen kijkt deastroloog naar de stand van de planeten in ons zonnestelsel op dat tijdstip. Elke planeet heeft specifieke energien en de plaats aan de hemel geeft unieke informatie over een bepaald moment op aarde. Oftewel: de stand aan de hemel (Ouranos) verteltiets over wat er op aarde (Gaia) gebeurt. In deze compositie worden de energien van vier planeten muzikaal vertaald. De vier planeten zijn niet lukraak gekozen. Het zijn twee paren, die qua invloed en energie tegenovergesteldzijn. Venus en Mars. Venus vertegenwoordigt het vrouwelijke principe: harmonieus, schoonheid, de kunst, het vermogen om verbindingen aan te gaan en de vrede te bewaren. Venus geeft door en verbindt om de balans te bewaren. Marsvertegenwoordigt het mannelijke principe: winnen, anderen aftroeven, impulsief en enthousiast, seksuele energie voor de voortplanting. Mars creert oorlog om de sterkste te laten zegevieren. Venus staat tot Mars als vrede staat tot oorlog, alsverbinden staat tot verbreken, als harmonie staat tot competitie. Jupiter en Saturnus. Jupiter vertegenwoordigt groei en expansie: het positieve zelfvertrouwen, de weldoener, de genezer. Jupiter is de filosoof die de wereld wilverbeteren, vooruitkijkend en zoekend naar eeuwige waarden, de profeet die soms al te bombastisch zijn leer verkondigt. Saturnus vertegenwoordigt concentratie en inkrimping: het sterke verantwoordelijkheidsbesef, soberheid, zelfdiscipline enmelancholie. Saturnus is de kluizenaar die onder minimale voorwaarden en zelfkastijding zijn angsten wil overwinnen. De harde, serieuze werker die volgens vaste regels stug doorgaat om aan zijn hoge eisen te voldoen. Jupiter staat tot Saturnusals uitbreiding staat tot inkrimping, als zelfvertrouwen staat tot faalangst, als vrijheid staat tot structuur.
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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£421.99The Book of Urizen (Movements I: The Vision and II: The Creation) (Soprano, Narrator and Concert Band - Score and Parts) - De Haan, Jacob
The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustrated himself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, a religious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can be played easily at the right moment.The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in "The Net of Religion," which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin in Jerusalem, the Holy City, where the afore-mentioned faiths come together.In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the "Eternals." His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, "the flames of eternal fury," and enwombs himself in his own world. When the Eternals see Urizen in his "stony sleep," they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen's world concrete form.In the second movement, The Creation, Urizen's world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen's body. He mourns and pities Urizen, and from his blood a female form comes into being, with the name Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the "fallen world." Orc is fed at Enitharmon's breast, which makes a girdle of jealousy restrict Los' chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles the face of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, the third movement of The Book of Urizen, is available in a separate set.
Estimated dispatch 7-14 working days
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£39.95
A Starry Night - Score and Parts - Joy Webb
Program NotesJoy Webb's A Starry Night was originally a huge success for The Salvation Army's 1960s pop phenomenon "The Joystrings." The breadth of the song's popularity continues to be a source of amazement to the writer herself, but the attractive simplicity and accessibility of the tune has made it one of the most widely used Christmas songs, particularly in schools and playgroups!Andrew Mackereth, who is the Bandmaster of the Salvation Army band at Nuneaton in Warwickshire and also conductor, composer and arranger for The Salvation Army Symphonic Wind Ensemble, has brought his considerable skills as an arranger and composer for both brand and concert band to this familiar Christmas song and produced an attractive dance-like Calypso-style setting that is already gaining huge popularity in its brass band form.This arrangement for concert band is sure to contribute to the ongoing popularity of this song, and will undoubtedly enhance any concert band's Christmas programme too.
Estimated dispatch 7-14 working days
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£39.95
Christmas Joy - Score and Parts - Erik Leidzén
Program NotesThe name Erik Leidz?n appears at the top of many brilliant compositions for brass band. His imaginative scoring and skillful use of musical colouring and texture in nothing less than outstanding.His march Christmas Joy is one of the most rewarding and satisfying items of this genre and is arguably the Christmas march against which all others will be measured! Including references to Joy to the World, Jingle Bells, and Love and Joy Come to You (Here We Come a-Wassailing), the march encapsulates the joy of Christmas and its availability to the wider community in this wind band transcription by Brian Bowen is welcome.
Estimated dispatch 7-14 working days
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£29.95
Share My Yoke - Score and Parts - Joy Webb
Program NotesMajor Joy Webb has a unique and special gift for writing songs that achieve massive popularity, both for the purity of their musical integrity and for the depth of their poetic and literal strength. One of the members of The Salvation Army's 1960s phenomenon "The Joystrings," Joy Webb has a string of popular songs to her name, several of which contributed to the charts successes of enjoyed by the group. In more recent years, many of her tunes have found their why into instrumental repertoire.A prime example of Joy's remarkable gifting is her beautiful Share My Yoke. Although the deeply spiritual words of Share My Yoke may be unfamiliar to some, the sheer beauty of the melody is without doubt. The chorus is reproduced here to offer an insight into the song's meaning:Your slightest movement I will feel and understand.Share my yoke, and come the way that I must go,In our togetherness my peace you'll know.The world beholding us will see it's so.Calling for real sensitivity both from soloist and accompanying group, this is an extremely rewarding piece to play - and a moving listening experience for the audience.The arranger, Ivor Bosanko, who lives in California following retirement from the post of Territorial Music Director in The Salvation Army's USA Western Territory, is himself a respected songwriter, composer and arranger. He has produced this wonderfully sensitive and evocative arrangement of the song for cornet soloist and band. Already widely used and recorded in its original brass band form, this arrangement for concert band will undoubtedly be a useful and valuable addition to repertoire.
Estimated dispatch 7-14 working days
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£29.95
Southdown - Score and Parts - Ray Steadman-Allen
Program NotesRay Steadman-Allen is one of the most foremost composers of the Salvation Army. He has over 400 pieces published and has been a most inventive and creative composer since his first composition was published in 1945. Having officer parents meant Ray grew up in the Salvation Army. He himself became an officer in 1950 and subsequently held many positions within the SA culminating in 1967 when he was appointed as the Head of Music Editorial where he was responsible for selecting and editing all music to be published by the SA. His versatility means he can compose music for all occasions and for all instrumental combinations; from Championship section test pieces to a straight forward setting of a children's song.The march Southdown represents music of a simpler nature from this great composer and was composed originally for a music school in Bolney Court. Bolney Court, near Brighton, is close to the downs in the southern county of Sussex, hence the title. It follows the traditional form of a march and will be an attractive addition to the repertoire of most types of wind-band.
Estimated dispatch 7-14 working days
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£69.95
The Proclamation of Christmas - Score and Parts - Stephen Bulla
Program NotesOriginally written as the 'show opener' for one of The Salvation Army's spectacular annual Christmas Carol concerts in London, and premiered by The International Staff Band, Stephen Bulla's overture The Proclamation of Christmas is an extended work that features a number of popular Christmas tunes, including Hark The Herald Angels Sing, Ding Dong Merrily on High, and The First Nowell. There are also two slightly less well-known tunes that are linked to the carols - While Shepherds Watched and Angels from the Realms of Glory - and the piece concludes with a final flourish from O Come, All Ye Faithful.Its dramatic opening and imaginative structure make it a rewarding piece to rehearse and perform, and it certainly fulfills all the requirements of a Christmas show opener! So, we firmly believe that this overture will be a popular addition to Christmas repertoire for concert band in the same way as it was in its original version for brass band.
Estimated dispatch 7-14 working days
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£52.00Chips, and Salsa Too
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!
Estimated dispatch 12-14 working days
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