Results
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£80.00Clarinet Concerto (The Fallen) (Clarinet Solo with Concert Band - Score and Parts) - Wilson, Jeffery
The three movements are 'Conflict', 'The Fallen' and 'Resolution', themes that are freely interpreted musically. In 'Conflict', the solo clarinet begins with an ascending figure based on octave leaps, while the accompaniment contrasts with marcato quavers and harsh dissonances. The melody features seventh intervals, and while the movement is marked 3/4 the accompaniment is often 6/8. This is more evident in the second theme where the clarinet line moves much more by step. The development takes these ideas and the cadenza comes from yet more conflict between the now calm clarinet and dissonant clashes in the accompaniment. 'The Fallen' is the slow movement and poignantly features notes from 'The Last Post' in the opening and a beautiful working of 'David of the White Rock' later on. The final movement 'Resolution' is a Rondo in 6/8, brighter but with hints of the initial conflict through the sevenths in the meno mosso sections which interrupt the flow. Another long cadenza takes short ideas from the piece before the work comes to a triumphant end with all four E notes across the whole range, echoing the beginning. Wilson set out to write a concerto for a versatile instrument and has found ways to exploit its capabilities while keeping tonal centre. There are frequent altissimo notes within all three movements. Wilson does use the very low notes, most notably in the cadenzas, but much of the work is high, presumably to allow the clarinet to carry over the wind band accompaniment. A good command of all notes right up to A sharp an octave above the stave is needed, plus technique to travel to and from altissimo notes (legato). The piece is around 25 minutes long. Printing is clear and the piano accompaniment comes as a spiral bound volume.
Estimated dispatch 7-14 working days
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£125.30Cry of the Mountain (Concert Band - Score and Parts) - Lorriman, Howard
This work is dedicated to Manfred Obrecht, conductor and musical editor. Manfred asked the composer to write a piece that captures the changing colours and mood of a mountain when viewed from a relatively close distance. The work is in four sections:Awakening - early morning and the mountain is covered in cloud, eventually the sun bursts through and reveals the mountain in all its glory.Snow, Ice and Glaciers - between the rocky out-crops ther are layers of snow; slippery ice patches and icicles adorn the overhangs. In the larger crevices and valleys glaciers are formed.Vistas and Distant Peaks - when viewed from other high points one can see the mountain in full outline against the vast landscape.Avalanche - despite its beauty, a mountain can be a dangerous place and the accumulated snow may not be stable, it can easily tumble out of control. The slight twist of major tonalities at the very end reflects the way a sudden change in light can alter the whole perspective.
Estimated dispatch 7-14 working days
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£48.95More Cowbell (Cowbell Feature with Concert Band - Score and Parts) - Williams, Mark
More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: "slit throat" gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new "rock star" takes another bow at the end of the piece. Have fun, and may your life always have more cowbell! Duration: 2.00
Estimated dispatch 7-14 working days
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£176.50Masquerade (Concert Band - Score and Parts) - Sparke, Philip
Masquerade was commissioned by Stadtmusik Willisau from Switzerland (Reto Gdel, conductor) to celebrate their 175th anniversary in 2003 and first performed by them in November that year.1. Overture: The first movement opens with a fanfare-like figure, featuring the brass, before the main them is introduced over staccato chords. After a short, syncopated interlude a legato theme is introduced in the tenor register and material is developed until the music slows temporarily. The opening theme returns and the 'tenor' tune is taken up by the whole band until the opening fanfare returns to close the movement.2. Elegy: The slow movement opens intensely with a bare two-part theme, which leads to a passionate chorale-style melody. A second theme is introduced and leads to a climax, a return of the chorale theme and a pianissimo repeat which again leads to a full-band climax. The two-part theme returns quietly to create a peaceful close.3 Interlude: A short movement which changes the mood to introduce...4 Finale: Three violent chords preface a lively syncopated opening theme. The trumpets introduce a second idea, which is treated fugally, and this in turn leads to the main melodic idea of the movement, over staccato chords. A contrasting subject is then introduced in the middle of the band, followed by echoes of the first movement fanfare. The opening theme returns and material is revisited until the opening fanfare returns in full to end the work triumphantly.Duration: 15:30
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C-minor BWV 582 - Johann Sebastian Bach
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord.
Estimated dispatch 7-14 working days
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£149.99
Jello, The Colours Of My Soul - Ben Haemhouts
Jello...The Colours of my Soul is an assignment that was written to be a lasting memory of the untimely, dramatic death of a young child. The work came about due to various conversations between the father and the composer whereby the final resultmust be seen as an attempt by the composer to musically translate the feelings of the parents.The first part of the title, "Jello", is a combination of the names of the two children of the commissioner, namely Jelle and Lobcke, and "the Colours of mySoul" are the colours of the soul of the parents who despite the loss of one of their children, continue to cherish their two children. The introduction provides the atmosphere of grieving for the loss, whereby use is made of pure fifths in order toportray the solidarity with nature, as we are familiar with in symphonies by Bruckner. A little later a bit of the first theme is suggested, which develops into a real funeral march.The Dies Irae, as this occurs in Berlioz's Fantastic Symphony (F, E,F, D, E, C, D), forms a leitmotiv through the entire work in order to symbolise the constant battle between life and death.Shortly before the storm-passage, (where a wind machine is used) which announces disaster, fragments from children's songs areplayed to the accompaniment of a rising choir piece from behind the stage, which strengthens the imminent confrontation with death.After the introduction of the two themes in the long introduction, a quick passage follows in which all kinds ofbeautiful memories are recalled. There is story telling, laughing, and dancing. One of the previous children's songs is also cited. The Dies Irea is heard once again, this time short and fast.Bit by bit happy elements are steadily distorted untilseriousness breaks through again, like an unavoidable and unstoppable evil. The entire piece becomes evermore stirring, as if a big climax will follow. At this moment a very long fermata makes a sudden end to the hysterical allegro. The crucialmoment in the work follows...How does one deal with something as tragic as the death of one's own child? Does one mourn for what no longer is and what never will be? Or does one try to cherish the beautiful moments and continue to live with thesecolourful memories?A subdued, dignified choir piece captures the beautiful memories and ends in a positive, hopeful tone.
Estimated dispatch 7-14 working days
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£143.00Psyche et Eros (Concert Band - Score and Parts) - Franck, Cesar - Cesarini, Franco
Cesar Franck, composer, pianist, organist and music teacher, completed Cupid and Psyche, 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 Metamorphoses, written 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, Psyche et Eros, is 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. Duration: 10.30
Estimated dispatch 7-14 working days
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£104.99Solemnitas (Concert Band - Score and Parts) - Van der Roost, Jan
This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gerard (the present conductor), who each have been conducting the ensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the names Jean-Paul and Gerard Frisch (in which h is considered b - as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful and lighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future. Duration: 5.30
Estimated dispatch 7-14 working days
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£85.00Mammoth Mountain Suite (Concert Band - Score and Parts) - Esplo, Haakon
Suite in Three Movements. Mammoths were a family of elephants that, with one exception, died out at the end of the last ice age. Their closest living relative is the Asian elephant. In many places in the world one can find mammoth remains. In Norway (especially in Gudbrandsdalen), 20 discoveries of teeth and skeletal remains have been made after mammoths that lived here between 40,000 and 50,000 years ago. On cave paintings and carvings you can see many pictures of mammoths with other animals. Pictures of killed mammoths have also been found with humans. Mammoth Moutain Suite describes a bunch of hunters looking for mammoths. Imagine the majestic animals, what it felt like to see the herd in the mountains and what it sounded like when the 6 ton heavy and 3.5 meter tall mammoths were on the run. Duration: 7.30
Estimated dispatch 7-14 working days
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£284.99Symphony for Wind Ensemble (Concert Band - Score and Parts) - Stephenson, James M.
The symphony is in four movements. The first movement starts a single triangle note, followed by a guitar strum. The movement anxiously attempts to churn into action, only to be stifled repeatedly by the single triangle note. Finally, with the guitar as inspiration, the main theme gets under way, revealing an almost Spanish, or even Eastern European flavor. Ideas and themes get reworked, developed, repeated and augmented throughout the movement, before finally closing out just as it began, but in reverse: this time guitar followed by triangle. The second movement steals from an angular and shrieking motif of the first, but is presented in opposite fashion: with the warm blend of the low brass. Hints of iconic military symbolism are interspersed throughout this movement, as homage to the commissioning ensemble. The main theme is inverted and awarded to a solo trumpet midway before giving way to a brass fanfare, though not done loudly, but here muted, from afar. The low brass return at the end, fading away to nothing as the bell tolls. The third movement is merely a short interlude - a break, in almost Gershwin-like fashion - from the seriousness of the movements that precede and follow. Lastly, the fourth movement is a wild one: with mixed meters and plentiful percussion penned to propel the movement throughout. The movements' themes are all reworkings of material presented earlier. Duration: 25.00
Estimated dispatch 7-14 working days
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