Results
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£191.99Sunrise at Angel's Gate (Concert Band - Score and Parts) - Sparke, Philip
This piece depicts the refined beauty of the Grand Canyon at sunrise and sunset. These are the best times to view the Canyon with the sun low in the sky casting shadows that give depth and form to the vast panorama. Angel's Gate is one of the many named rock formations in the canyon. The composer has tried to depict the sights and sounds of dawn, birdsong in the early morning sky and the gradual revelation of the Canyon itself as sunlight reaches into its rocky depths.Towards the end of the piece, to the sound of a tolling bell, we are however reminded of the dangers that the beauty of the Grand Canyon so cleverly hides.Duration: 10:40
Estimated dispatch 7-14 working days
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£84.95Panache (Concert Band - Score and Parts) - Fraser, Bruce
The work has a military feel in the opening fanfare, but settles down to an angular melody with frequent changes in time signature. The middle section should be played expressively and maintain a good flow. The speed of the Allegro is most likely to be determined by the agility of the trombone section in the unison running quavers. There is the possibility of adding extra drummers near the end - a drum corps was used behind the Band in the first performance making a stunning effect.
Estimated dispatch 7-14 working days
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£202.99Missa Tornacum (Choir with Concert Band - Score and Parts) - Waignein, Andre
Felicien Doyen, the President of the Tornacum Royal Choir Circle of Tournai (Belgium) and a close friend of the composer commissioned this Mass. Missa Tornacum was originally composed for mixed choir and organ, gave a memorable performance of the piece in the Chartres Cathedral in France.Although it does not include the Credo, the work is composed according to the traditional structure of a Mass in five parts : Kyrie, Gloria, Sanctus, Agnus Dei, and Ite missa est. En the first two parts, a dialogue is created between the choir and the band. It is followed by the Sanctus cycle ("Sanctus" - "Hosanna" - "Benedictus"), which is remarkable for the contrasts between the tone colours characterising each of its three parts. The fourth part, Agnus Dei, takes on a tone of serene intimacy. A free counterpoint draws this section to a close by fading into an almost imperceptible quietness. Ite missa est begins with a series of imitations, which develop into a majestic and cheerful passage marking the end of the Mass. Choir parts are available separately.Duration: 17:00
Estimated dispatch 7-14 working days
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£84.95A Fugal Concerto (Flute, Oboe And Small Wind Band) (Concert Band - Score and Parts) - Holst, Gustav - Brand, Geoffrey
This work was originally written for flute, oboe (or two violins) and String Orchestra in 1923. This arrangement was premiered by the Stockholm Symphonic Winds in September 1993, conducted by the arranger. The style of A Fugal Concerto is very much neo-classical - all the rage at the time, although whether Holst had heard Stravinsky's examples is not known. In so far as the work is fugal, the adjective applies more to the texture than the form, although the second movement is canonic. The contrapuntal texture is not straightforward as phrases are displaced across barlines and cross rhythms are a feature. Nothing is allowed to settle until the folk tune is introduced toward the end. Yet, within this musical web, fascinating patterns and cross references reveal themselves.
Estimated dispatch 7-14 working days
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£16.95
A Fugal Concerto (Flute, Oboe And Small Wind Band) (Concert Band - Score Only) - Holst, Gustav - Brand, Geoffrey
This work was originally written for flute, oboe (or two violins) and String Orchestra in 1923. This arrangement was premiered by the Stockholm Symphonic Winds in September 1993, conducted by the arranger. The style of A Fugal Concerto is very much neo-classical - all the rage at the time, although whether Holst had heard Stravinsky's examples is not known. In so far as the work is fugal, the adjective applies more to the texture than the form, although the second movement is canonic. The contrapuntal texture is not straightforward as phrases are displaced across barlines and cross rhythms are a feature. Nothing is allowed to settle until the folk tune is introduced toward the end. Yet, within this musical web, fascinating patterns and cross references reveal themselves.
Estimated dispatch 7-14 working days
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£118.99Variazioni in Blue (Concert Band - Score and Parts) - De Haan, Jacob
Variazioni in Blue is a series of variations in which elements from the Blues, such as the specific blue notes, run throughout the piece. Following a stately introduction, which includes part of the theme, is an ornamental variation in classical style. We then hear a variation in Blues style, followed by a fast variation with an Eastern European folklore feel. The Andante con espressivo is particularly fine with its attractive harmonic changes. This variation develops into a repeat of the previous folklore variations with its major variation forming a climax towards the end.Duration: 6:30
Estimated dispatch 7-14 working days
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£104.99Ceremonial March (Concert Band - Score and Parts) - Van der Roost, Jan
In the course of the two centuries following the death of Henry Purcell in 1695, no British composer of any statue was apparent. Consequently, the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century, was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar's music and on the occasion of the fiftieth anniversary of the composer's death in 1984 he composed the "Ceremonial March". Van der Roost was inspired by the most famous and frequently played works from Elgar's catalogue of works, the characteristic "Pomp and Circumstances" marches, and decided to add his own, sixth march to the existing collection.Duration: 5:30
Estimated dispatch 7-14 working days
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£214.95BLACK FIRE (after Paradise Lost) (Violin Solo with Concert Band - Score and Parts) - Clarke, Nigel
This is not a straight forward concerto, but rather a symphonic drama for violin and ensemble. It uses the soloist as both protagonist and ensemble player, much as Berlioz treated the viola in his symphony 'Harold in Italy'. Black Fire is written in one movement though it has three clear sections (slow, fast and slow). The music reflects the various shades of darkness and suffering that dominate the atmosphere of the early part of the poem. The violinist takes the role of Satan, reflecting his moods, from righteous indignation to sorrowful remorse. A motif from Wagner's opera 'Gotterdaemmerung' (Twighlight of the Gods) is used throughout the work to represent Satan's brooding hatred. At the end of the work you will find Satan in the form of the solo violin heroically travelling towards Paradise to corrupt 'Mankind'. Duration: 26:00
Estimated dispatch 7-14 working days
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£174.95RUNCORN BRIDGE (Professional Concert Band - Score and Parts) - Carpenter, Gary
The through-arch bridge that is visible for miles across the Cheshire Gap is one of two adjacent bridges that cross both the River Mersey and Manchester Ship Canal. Its formal name is the Silver Jubilee Bridge is more usually known as the Runcorn Bridge. Runcorn Bridge begins with a brief, quiet, introduction featuring an oboe solo. There follows a lively march at the end of which a reflective interlude (or bridge!) based upon the tune that occurs twice in the march leads to a lyrical, almost nocturnal section spotlighting the alto saxophone. A variant of the first interlude leads to a scherzo-like section kicked off by the euphonium with a 'trio' that contains a Latin-inflected version of the oboe melody first heard in the introduction. A third interlude variant heralds a return of the nocturnal melody firstly as a horn solo but subsequently returning to the alto saxophone. Previous melodic materials gradually combine as an extended crescendo leads to a majestic, but short, coda that in a gesture of symmetrical solidarity refers back to the march tune utilised in the earlier interludes. Duration: 10:30. Recorded on Polyphonic QPRM160D Bells Across the Atlantic.
Estimated dispatch 7-14 working days
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£84.99
Scherzpolka (Concert Band - Score and Parts)
In the somewhat sarcastic Scherzpolka (Joke Polka), the composer does not intend to make fun of Alpine traditions and music but rather of the typical social attitude that does not always do justice to the valuable folk music and culture. Imagine a band that has to play in a beer tent for hours. During the performance the guests treat the musicians to one beer after another. Gradually, the players and the conductor lose control over their instruments and their interpretation of the music. Finally, the performance comes to an end: the Scherzpolka is actually the last piece. There are no limits to the creativity in both the visual and musical aspects during a performance of the Scherzpolka! 02:30
Estimated dispatch 7-14 working days
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