Results
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£159.99Tirol Terra Fortis - Jan Van der Roost
The Stadtmusikkapelle Wilten-Innsbruck (Austria) invited Belgian composer Jan Van der Roost to write a work to mark the bicentenary of the Tyrolean fight for freedom, which was settled in 1809. Various musical elements reflect this historical event. First, a hymn-like section rings out, based on melodic fragments from the 'Tiroler Landeshymne' (by Leopold Knebelsberger), which intertwine in a counterpoint-like arrangement. The second passage is more bellicose in character, and mirrors the fight of the Tyroleans - under the inspiring leadership of freedom fighter Andreas Hofer (1767-1810) - against Bavarian, French and Italian troops. Next, a broad, chorale-style melodyappears again: here, the imposing beauty of nature in Tyrol, and the amiable, lively temperament of the people who live in this mountainous region, are glorified.This is neither a programmatic work around an historical reconstruction, nor a politically inspired work: it is a combination of factual and cultural components, with an artistic and sonorous character. The use of the flugelhorn in particular gives Tirol Terra Fortis its 'couleur locale': for this beautiful instrument can invariably be found in the Austrian wind band. The commissioning music society had therefore specifically asked the composer to incorporate the instrument in this work. It certainly enhances the already extensive colour palette of the modern concert band!
Estimated dispatch 7-14 working days
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£60.99
Der Zaubermarsch - Rob Ares
On 30th September 1791, a few months before his death, the opera "Die Zauberflote" (The Magic Flute) by Wolfgang Amadeus Mozart was given its first performance. It was remarkable that despite his ill health and his disastrous financial situation he was able to compose a work of such comic genius. Mozart composed the overture in the two days before the premier of the opera and it is on this overture that this transcription is based. To perform the work 'a la Mozart' only the timpani part should be used, the additional percussion parts have been added by the arranger and are therefore optional.Mozart 40th SymphonyThe Austrian composer Wolfgang Amadeus Mozart lived atragically short life of thirty-five years. Towards the end of his life in the summer of 1788, he wrote three symphonies in the span of a little over six weeks. His Symphony No.40 in G Minor was one of those great works. This setting of the first movement from that Symphony provides ample demonstration of the composer's grace, inventiveness and pervasive sense of humour, which can be found throughout his music.
Estimated dispatch 7-14 working days
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£144.99Magic Overture - Thomas Doss
Magic Overture was written as an anniversary present for the Brgermusik Gtzis in Austria. The magic of the music and landscape in the Austrian region of Vorarlberg are in abundance in the charming village of Gtzis. Visiting a place as wonderful as this helps one appreciate local traditions and experience the joy of living. Once touched by the magic, every visitor will gladly return time after time. This new overture reflects the carefree cheerful atmosphere, taking the band on a walk through the village on an icy winters night to participate in the sparkling celebrations of the villagers.
Estimated dispatch 7-14 working days
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£94.99Storia Montana - Thomas Doss
Storia Montana is an easy work which takes the audience on a scenic tour though the Austrian mountains. The journey begins on a dark drizzly morning, gradually reaching its musical climax with the final ascent to the summit. Creative special effects, conjuring up images of wind, rain, birds and cowbells, all help accentuate the realism of the work.
Estimated dispatch 7-14 working days
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£189.99Spotlights - Thomas Doss
Spotlights is a fantastic virtuoso piece for saxophone quartet (SATB) and concert band that was commissioned by the outstanding Austrian saxophone quartet Mobilis. It is an impressive and exceptionally spectacular piece in which every member of the saxophone family is featured. The most important ingredients of this solo work are virtuosity, rhythm and a good dollop of funk. It is a challenging, but rewarding piece for your saxophone soloists and yet very accessible to the audience.
Estimated dispatch 7-14 working days
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£100.80Fascination Fanfare (Concert Band - Score and Parts) - Schwarz, Otto M.
Rock VersionFascination Fanfare is a hymn to passion, to fascination and to generations of music lovers! This dynamic fanfare is a rousing work full of catchy melodies and enthralling sounds. This opening work and the musical signature tune it contains were commissioned by the Austrian Brass Band Association and will be heard, among other things, at public events as a musical calling card.Duration: 3.15
Estimated dispatch 7-14 working days
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£63.99Fascination Fanfare (Flexible Ensemble - Score and Parts) - Schwarz, Otto M.
Fascination Fanfare is a hymn to passion, to fascination and to generations of music lovers! This dynamic fanfare is a rousing work full of catchy melodies and enthralling sounds. This opening work and the musical signature tune it contains were commissioned by the Austrian Brass Band Association and will be heard, among other things, at public events as a musical calling card.Duration: 3.00
Estimated dispatch 7-14 working days
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£119.20Sinfonisches Praludium (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
The Symphonic Prelude in C minor is an orchestral composition from the circle of the Austrian composer Anton Bruckner. The unearthing of this work, discovered shortly after World War II, has created confusion, leading to a second, reduced version being attributed to Gustav Mahler, a theory which still holds sway in musical circles today, although there is a high probability that the original composition is indeed by Bruckner himself. Rudolf Krzyzanowski (1895-1911), a pupil of Bruckner, transcribed the score in 1876. The 43-page manuscript bears the inscription Rudolf Krzyzanowski cop. 1876 on the first page; while on the last page is written in blue pencil: By Anton Bruckner. Thomas Doss used a facsimile of this autograph copy as the basic of his instrumentation of the prelude for symphonic wind orchestra.Duration: 6.15
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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£95.995 Tantum Ergo (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. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.Duration: 11.00
Estimated dispatch 7-14 working days
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