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£176.50Masquerade - Philip Sparke
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. OvertureThe 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. ElegyThe slow movement opens intensely with a bare two-part theme, whichleads 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 InterludeA short movement which changes the mood to introduce:- 4 FinaleThree 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.
Estimated dispatch 7-14 working days
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£112.99Bite the Bullet - Jorge Machain
Bite the Bullet by Mexican-American composer Jorge Machain was named 2019-2020 winner of acclaimed "The American Prize" for music, in addition to being a finalist in the 2018 NBA Revelli competition. The work was inspired by a painting by Venetian artist, Carlo Marchiori, which depicts two 'Pulcinelli' (Venetian clowns) engaged in a gun battle. As the bullets meet in the middle of the scene, a colorful and vibrant cloudburst is created. Using a unique sonic color scheme, the brass and percussion portray the gunshots, while the woodwind flourishes emulate the painter's vibrant brush strokes.Commissined and recorded by the UNLV Wind Orchestra Thomas G. Leslie, conductor,featured on the Klavier recording "Quarternity" K11123.
Estimated dispatch 7-14 working days
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£161.00
Parade - Erik Satie
Parade is a ballet with music by Erik Satie and a one-act scenario by the French artist Jean Cocteau composed in 1916-1917 for Sergei Diaghilev's Ballets Russes and premiered in 1917 in Paris, with costumes and sets designed by Pablo Picasso. Cocteau started writing a scenario - the theme being a publicity parade in which three groups of circus artists try to attract an audience to an indoor performance - to which Satie composed the music. The score contained several 'noise-making' instruments (typewriter, foghorn, an assortment of milk bottles, pistol,...), which had been added by Jean Cocteau. Dutch arranger Guus Dohmen transcribed Satie's Parade for Symphonic Band including all of Jean Cocteau's extraordinary additions.
Estimated dispatch 7-14 working days
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£109.99
Dublimania - Menno Bosgra
This new work is based on Irish folk music.In the first part, the main theme is presented as a ballad, starting with the piccolo (as replacement for the flute which is widely used in Ireland), moving on the wood section to end with the entire orchestra.It then changes to a kind of rock style theme: powerful, rhythmic accompaniment with effects in dampers, a pedal point and the use of the spoons which is typical of Irish music (Irish pub), high-range bongo drum (replacement for the Bodhran), etc.In this second part I introduced a second theme as a counterbalance, played by several groups, which has clearly a more legato character and therefore sounds more melodious.The climaxof the work starts in the low-range brass section with its marcato theme that is developed with a great deal of rhythmicity in the accompaniment, clusters, etc. into a percussion solo interspersed by the orchestra in five-eight time with frequent parallel movement in chords (folk music style).Towards the end, theme 2 recurs twice: first as heard earlier with an extra counter melody and accompaniment pattern, then in a canonical form, in which the theme is played by three groups. The conclusion is a repeat of the middle section in five-eight time.I have tried to use many of the colours of a wind orchestra by having the wood sections and brass section play alone and making extensive use of dampers. Percussion also has a prominent role throughout the work.
Estimated dispatch 7-14 working days
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£264.99
Diferencias on an Old Spanish Song - Yasuhide Ito
I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.During this period, the growth of the internet has made it much easier to access information.When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.In recent years, the music of Luis de Narvez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.Narvez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.(English Translation:Nahoko Gotoh)
Estimated dispatch 7-14 working days
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£149.99Nemu-Susato - Jan Van der Roost
Commissioned by the Japan Band Clinic Committee of Yamaha for the Nemu Band Directors Clinic in Nemu no Sato, May 18-20, 1997.The surprising title of this work is an indication of its content. By combining the somewhat similar names 'Nemu no Sato' and 'Susato' into a new word, Jan Van der Roost has produced a significant and interesting subject. The Yamaha corporation has extensive facilities in Nemu no Sato, Japan, including a concert hall, recording studios, hotel and so on. Concerts, workshops, clinics and other events are held here, including the annual Nemu Band Directors Clinic, which consists of numerous musical events. Jan Van der Roost served as guest conductor andspeaker in 1994. He was invited again for the 1997 clinic, this time with a composition assignment. The difficulty level of his new piece was to be Grade 2 - 3 bands. With this in mind, Mr. Van der Roost strove to create a renaissance-like sound. Simultaneously he wished to create a tribute to Tielman Susato who, like Jan Van der Roost, lived and worked in Antwerp in the 16th century. The first performance of Nemu-Susato was conducted by the composer, performed by the Tokyo Metropolitan Police Band, and took place during the Nemu Band Directors Clinic on May 19, 1997.
Estimated dispatch 7-14 working days
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£109.99Bella Italia
Bella Italia is a medley of three Neapolitan songs that were made famous and popular by the tenor Mario Lanza. The work opens with the graceful waltz Santa Lucia, which is followed by a Latin-style version of O Sole Mio, a melody that became even more well known when used by Elvis Presley as the basis of the song It's Now or Never. The cheerful Funicul, Funicul ends the medley in 6/8 time. This arrangement for concert band by Roland Kernen will appeal to a broad audience and will leave both the band and the audience in a high-spirited mood.
Estimated dispatch 7-14 working days
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£239.99The Three Musketeers, Op. 8 - Maxime Aulio
Les Trois Mousquetaires (The Three Musketeers) was commissioned by the Miraphone company for the Miraphone Tuba Quartett and the Musique des Gardiens de la Paix (Paris, France). It was premired in Guebwiller (France), on 28 June 2003 by its dedicatees.Even if you have never read a line of the mythical novel The Three Musketeers (1844) by Alexandre Dumas, father, you will at least have heard of the "four invincibles"; four extraordinary names - D'Artagnan, Athos, Porthos, and Aramis - and one unique motto "All for one, and one for all." The musical texture of Les Trois Mousquetaires is focused on specific elements of a character's personality rather thanon its influence on the book's plot. Maxime Aulio has largely turned his attention on D'Artagnan, the sensitive, romantic and perfect gentleman who is easily charmed by women such as the gentle Constance Bonacieux and the perfidious Milady de Winter whose beguiling beauty seduced him. The first movement - D'Artagnan - is true to the character of the young provincial noble of the Gascony region: heroic and enthusiastic in all circumstances. The second movement entitled Constance Bonacieux, is romantic, delicate and passionate. The third and last movement is as duplicitous as the bewitching femme fatale its reveals: Milady de Winter.
Estimated dispatch 7-14 working days
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£144.99Dances & Sonnets - Jacob de Haan
Dances & Sonnets is a piece by Jacob de Haan, inspired by the dance and poetry of the 19th Century Europe. Lively instrumental dances alternate with spoken sonnets that are recited by one or more readers, accompanied by quiet, solemn music to provide contrast. De Haan has compiled a list of suggested poems to be read, but other poems may be selected that better fit the occasion. Dances & Sonnets is a dramatic and truly special piece!
Estimated dispatch 7-14 working days
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£118.99I Love the 207 - Itaru Sakai
I Love the 207 was composed in February 2010 for a commission by Osumi Symphonic Band in Kyoto. It was first performed on 25 April 2010 by Osumi Symphonic Band, conducted by Masanori Ozaki. This piece begins with an introduction to present the instruments, followed by a light scherzo. The title is an affectionate reference to the commuter rail 207 series of the West Japan Railway Company. When the band started their activity, the 207 series trains began running through the fields next to the building where they practice. The composer hopes that the trains continue to run and bring smiles to people's faces.
Estimated dispatch 7-14 working days
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