Results
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£99.99March of the Robot Army - Philip Sparke
March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held in Camposilvano in 2019) which has a different theme every year. The theme for 2019 was 'science fiction', so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromatic figures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change of key introduces a legato 'trio' melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting the first two themes in new guises before finishing the march with a flourish.
Estimated dispatch 7-14 working days
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£65.00Red River - Rob Wiffin
Red River is a piece full of raw energy. The title is about the feeling engendered by the name rather than a reference to a specific place. In the composer's mind it is a river coloured red by the dust of the earth in a hot, sun-drenched landscape. Full of fiery rhythmic drive and syncopation carried along by Latin percussion, performers will enjoy the vigour and verve of the music. Suitable for intermediate level (Grade 3/4) symphonic wind band. Red River is a piece full of raw energy. The title is about the feeling engendered by the name rather than a reference to a specific place. In the composer's mind it is a river coloured red by the dust of the earth in a hot,sun-drenched landscape. Full of fiery rhythmic drive and syncopation carried along by Latin percussion, performers will enjoy the vigour and verve of the music. Suitable for intermediate level (Grade 3/4) symphonic wind band.
Estimated dispatch 7-14 working days
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£154.99Majestic Waters - Thomas Doss
The area surrounding Zell am See is amongst the most beautiful spots on earth. Majestic Waters, which portrays water in in all its diverse conditions in and around Zell am See, was inspired by mountains, water and the overall impression of the landscape. This composition was commissioned by and is dedicated to Brgermusik Zell am See, conducted by Horst Egger, on the occasion of their 140th anniversary. A great piece for thematic programs or a spectacular option for your contest!The area surrounding Zell am See is amongst the most beautiful spots on earth. Majestic Waters, which portrays water in in all its diverse conditions in and around Zell am See, wasinspired by mountains, water and the overall impression of the landscape. This composition was commissioned by and is dedicated to Brgermusik Zell am See, conducted by Horst Egger, on the occasion of their 140th anniversary. A great piece for thematic programs or a spectacular option for your contest!
Estimated dispatch 7-14 working days
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£57.50Pop! - Tawnie Olson
Inspired by the ever-popular snack, Pop! is a grade 3 band piece by composer Tawnie Olson that imitates the sounds popping popcorn beginning with that first, single kernel to the exploding sounds of an overflowing pot. Through the use of imitation, additive processes, playful articulation, and the development of tune fragments, Olson crafted a piece that is relatable and great fun to play. Pop! also has an aleatoric passage that gives young performers the opportunity to co-compose by improvising sounds that suggest of pop of popcorn in the making. BandQuest, an exciting series of new music and accompanying curricula for band, is a program published by the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email [email protected] to request a free downloadable audio catalog.
Estimated dispatch 7-14 working days
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£209.99Dunamis - André Waignein
Major Yvon Ducene wanted a new lush and colourful composition for his Guides military band, with Andr Waignein as its composer. Early in 1979 the composer began his assignement and in October of the same year, the finished full score was on the music stands of this prestigious military band of the Belgian Army.The introduction (Grave) mirrors an atmosphere full of serenity in which the theme, played by the oboes and the English horn is predominant and immediately holds the listener spell-bound. It is taken up again as central element of the slow movement.The Allegro breaks away from the quiet passion of the introduction. Here, the band can really show its capabilities to thefull. Based on a very precise rythm, an idiom of sudden desperation and adversity develops which, fused with a crushing agression, culminates in a kind of eruption, soom calmed down by a Lento : peace and quiet has returned thanks to a melody by the horns and soon taken over by the clarinets. In the meantime, the saxophone - an instrument full of human emotion - express the main spatial dimension in contemporary psyche. Following a harmonic transition the brass-players take up the theme again in forte whilst the basses and the woodwinds interwine in technical arabesques.The movings of the mind and the heart get an audible and almost touchable shape in the ensuing Allegro, a movement characterized by a rhythmic dialogue in which the whole orchestra participates and where the exposition contains a wealth of sound and technical contrasts. The Lento finally uses the central theme of the slow movement again, with some occasional references to the two allegros. The last page is of unprecedented grandeur. All the instruments display their most beautiful sound which were named by Jacques Ferschotte, when speaking about Honneger, "harmonies d'intensits" harmonies of the unmeasurable.
Estimated dispatch 7-14 working days
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£93.50Tico Tico - Zequinha de Abreu
"Tico-Tico" is a vibrant Brazilian choro (a lively and rhythmic instrumental work) composed by Zequinha de Abreu in 1917. The title, meaning "sparrow in the cornmeal," reflects the piece's lively and playful character, and was made famous by renditions performed by many popular artists. This colorful and spirited arrangement by Robert Longfield captures the infectious rhythms and exuberant melodies of the original, offering performers an engaging and energetic experience. With its upbeat tempo and colorful orchestration, "Tico-Tico" is as delightful to play as it is to hear, making it a guaranteed audience favorite!This work is not yet in print. Please check back later to view the conductor score and for purchasing information. In the meantime, please enjoy this recording performed by The Washington Winds, conducted by Edward S. Petersen.
Estimated dispatch 7-14 working days
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£332.99Cantica de Sancto Benedicto - Jacob de Haan
Cantica de Sancto Benedicto is a three-movement work for mixed choir, soprano solo, concert band and organ ad libitum - on Latin lyrics that relate to the life of Saint Benedict. It was commissioned by the city of Norcia in Italy, whereBenedict was born. The holy Benedict (480-547) is considered the founder of monastic life within the Roman Catholic Church. His enormous influence is especially owing to his monastic rule, the Regula Benedicti.Jacob de Haan has named the movements ofCantica de Sancto Benedicto after the Holy Trinity: the Father (Gloria Patri), the Son (Gloria Filio) and the Holy Spirit (Gloria Spiritui Sancto). The lyrics of thehymn Gemma Caelestis, (which, like the othertexts, were originally used in Gregorian chant) are voiced by the choir. To this purpose, Jacob de Haan composed new, choral-like, homophone music. The sequence Laeta Quies is rendered by the soprano; the verses (divided over the threemovements) are alternated with those of Gemma Caelestis. The work closes with an impressive grand finale, in which texts are used from the proprium of the mass in honor of the saint's day of the holy Benedict (11 July). Notes to the conductor:For this cantata, there are various possibilities for the performance. The first involves a performance in which the choir and soprano parts are only accompanied by organ. Such a performance has several advantages: since the band never soundstogether with the choir and the soprano, no balance problems occur, and even a performance with a large concert band and a small cantata choir is conceivable. A special layout is also possible - with which you can set up a three-dimensionalperformance in a church. For example, the choir can sing in the chancel, accompanied by the choir organ; the soprano can stand on the gallery, accompanied by the main organ; and the band can be seated in another part of the church. The choir couldalso sing from a gallery. With layouts like this, working with two conductors is advisable. Choral parts available separately.
Estimated dispatch 7-14 working days
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£140.80Belvedere Suite - Wilhelm Koenen
Part One: 'Danse mditerranenne'This part is composed of stylized folkmusic elements from several regions of Mediterra-nean countries. If this music recalls memories of your holidays on the sunny beaches, the composer will have reached his goal.Part Two: 'Impression'This part is meant as a contrast with the first and the third parts. The conductor should not stick to the metronome tempo, but he can express his own interpretation by means of 'rubato playing'. This 'impression' was inspired by the Provence landscape.Part Three: 'Marche grotesque'We deliberately used non-typical characteristics of the traditional march. The underlying idea is: A band starts playing a march at the ordinary marching tempo. There is already a mistake at measure 4 when some musicians play the wrong bar which causes the fifers to start too early with the drum and fife signals. A grumpy 'Stop' brings and end to the false start by means of a pathetic quaver (eighth note). The drummers however continue to play their drum beats, so the fifers start again and play very quickly in order to catch up with the drummers. They even manage to do so, thanks to that late quaver (eighth note). The band now also starts to play again and reacts to this chaos by laughter. The march that comes next does not match the metric characteristics of the usual march. The woodwinds, dreaming of holidays, get caught in a Tarantella. A compelling signal by the trumpets and the horns, soon joined by all band registers, leads the band back to reality. We deliberately chose well-known 'secondary parts' in order to make the audience accept the 'out-of-tune playing'. Original themes would not have had the same effect. The whole composition is just one great musical joke. If the audiance chuckles the composer will have achieved his aim. The third part is extremely well suited to end a concert or to be used as encore.
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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£110.00Mount Everest - Kees Vlak
This composition basically consists of three fragments and an epilogue (conclusion):1) Plateaux, 2) Sherpas, 3) Climb. The piece starts with a musical depiction of the deserted plateauxs and mountain peaks of the Himalayas. The mysteriousness of theTibetan country was caused by its inaccessibility to other nations. One even believed that there was a paradise behind the huge mountains; the land of Shangra La. 1) After the sound of a gong, the Asian-like theme arises extremely softly from thedecay of the percussion. In bars 4 and 5 the syllables of Hi-ma-la-ya echo. Then a second theme appears; it symbolises the enchantment of the mountaineers by seeing the Mount Everest. 2) Eastern percussion, very evenly without emotion, sound from thedeserted village of the sherpas. The phrasing is prescribed by the number 'three'. From measure 56 Tibetian monks sing a chant, also with the religious background of the number 'three'. 3) The third part starts of with the sight of the giant MountEverest with an entirely new theme, that is played impressively by the strong low brass instruments of the band, immediately followed by the excited big climbing. The many surprises are depicted by the changing time signatures. Two themes are inconstant battle; the binary Himalaya theme and the ternary Mount Everest theme. Only once there is a steely composure. The registers in which the piece is played increase. The tension rises...Then the peak is reached. A long pause follows before onerealises that one is on top of the world. Slowly the emotions of joy grow and lead to an enormous climax. The first enchanted theme sounds again in total glory.
Estimated dispatch 7-14 working days
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