Results
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£104.99The Great Gate of Kiev Wind Band Set (Score & Parts)
The Russian composer Modest Mussorgsky (1839-1881) was self-educated to a large extent but went on to become one of the ?Mighty Five? which also included Balakirev, Cui, Borodin and Rimsky-Korsakov. Today he is considered the innovator of Russian music par excellence. He composed Pictures at an Exhibition in 1874, inspired by ten pictures produced by his then recently deceased friend, the Russian architect and artist Victor Hartmann. The French composer Maurice Ravel made an orchestration of Mussorgsky?s composition in 1922 which is now more well-known and more performed than the original piano suite. For his transcription of Pictures at an Exhibition, Tohru Takahashi made use of the original piano composition by Mussorgsky. The Great Gate of Kiev, issued here separately, is probably the best known melody from this classical masterpiece. 0:05:45
Estimated dispatch 7-14 working days
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£79.95Variations on 'Was Lebet' (Concert Band - Score and Parts) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£15.95Variations on 'Was Lebet' (Concert Band - Score only) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£60.00Menuetto (from Symphony No.104) (Flexible Ensemble - Score and Parts) - Haydn, Joseph - Glover, Andrew
Joseph Haydn's music is beloved worldwide as the very best of the Classical era. Of his "London" Symphonies, the Symphony No. 104 is perhaps the most famous, and the delightful "Menuetto" movement is now available for flexible instrumentation bands in the Barnhouse "Build-A-Band" series. Requiring as few as five players, this charming work from the orchestral world will be a highlight of any band concert program. Great music! Duration: 3.30
Estimated dispatch 7-14 working days
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£84.99Cantastoria (Sonata from die Bankelsangerlieder) (Concert Band - Score and Parts) - Beringen, Robert van
A cantastoria or B?nkels?nger - German for busker - was a travelling musician who made music in streets and squares, together with his colleagues. Die B?nkels?ngerlieder (buskers songs) originally stem from the seventeenth century. Robert van Beringen, who is known for his attractive arrangements of classical melodies, created a colourful transcription for wind band based on this characteristic music. Duration: 3.00
Estimated dispatch 7-14 working days
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£118.99Showdown for Band (Concert Band - Score and Parts) - Tinner, Gilbert
Showdown for Band was written as a compulsory exercise for the Third International Light Music Competition at St. Gallen, Switzerland in 1998. The intention of the composer was to write a piece in a light music style that would at the same time challenge the various bands, particularly in the area of rhythm. The work is divided into four parts: Opening, Ballad, Finale and Ending. Using melodies that are easy on the ear and varied instrumentation, many facets of the entire band are displayed. The solo in the middle part can be played by either soprano or alto saxophone, or even by a flugel horn. The impressive composition contains many musical elements, which makes the work an especially suitable piece with which to open a light classical concert.Duration: 7.30
Estimated dispatch 7-14 working days
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£118.99The Universal Band Collection (Concert Band - Score and Parts) - De Haan, Jacob
A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear.Western Girl: A girl from the west of the USA rides her horse across the prairie, dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale.Just a ballad: A ballad in pop style with a rough A-B-A form. First there is the introduction of the main theme (A), then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody, performed tutti with a different rhythm in the drums (A').Play the Game: An English saying meaning: play fairly. Playful music in up-tempo with a wink to China, where almost all games are manufactured nowadays. Once again an A-B-A structure here.San Diego: A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation, in which the muted trumpets represent the Mexican feeling.Final Dance: Eventually there is a dance with an introduction in renaissance style, followed by a fast dance in rock style. All this composed in a classical song structure: introduction, verse, bridge, chorus, shortened verse, bridge, chorus, chorus.Duration: 10:30
Estimated dispatch 7-14 working days
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£115.00BOHEMIAN DANCES (Concert Band) - Woolfenden, Guy
Includes:1. Shepherds and Shepherdesses2. Florizel and Perdita3. Dance of the SatyrsOne of my favourite Shakespeare plays is The Winter's Tale, and I have written music for three completely different productions during my time as Head of Music to the Royal Shakespeare Company. One, starring Judi Dench as both the mother, Hermione and her daughter, Perdita, had a big band Tribal Love-Rock score; another had a more classical, but timeless feel to it, and the last was an excellent small-scale touring production, for which I was allowed only a handful of instruments. It is from this source that the basic themes for Bohemian Dances, and an earlier version Three Dances for Clarinet Choir, have emerged. Act IV of the play is set in the kingdom of Bohemia - hence the title of the work.Shakespeare calls for "A Dance of Shepherds and Shepherdesses", which gives Florizel, the son of Polixenes, (King of Bohemia) a chance to become better acquainted with the beautiful Perdita, the lost daughter of Leontes, (King of Sicilia). This movement is written in seemingly tricky and ever-changing metres, but is rhythmically quite logical and melodically catchy.The slower second movement 'Florizel and Perdita' is the lovers' pas de deux: a gentle, slow waltz-like tune, initially presented by the principal oboe, is contrasted with a lndler-like double time melody, at the end of which a solo clarinet makes a link to the last movement.'Dance of the Satyrs' is a rip-roaring, foot-stamping dance performed in the play by 'three carters, three shepherds, three neat-herds, and three swine-herds', who enter in outrageous costumes representing the lecherous half-man, half-goat of Greek mythology. This dance is referred to as a "gallimaufry of gambols" - now where have I heard that word before?! - GW
Estimated dispatch 7-14 working days
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£164.95Roman Trilogy (Prestige Concert Band - Score and Parts) - Ellerby, Martin
This work falls into three movements, all concerned with the subject of the Italian capital city of Rome, rather like previous tributes to other European citites in Paris Sketches, Venetian Spells and The Cries of London. The emphasis is on atmosphere and drama, be they respectful or joyful! It is acknowledged that Ottorino Respighi has influenced this work though his own eternal Rome tributes are not challenged here, rather saluted and celebrated.The three movements are: 1. Collosea di Romaan evergrowing march mood, builds in intensity and density as we approach the mighty Colosseum, the amphitehatre of Classical Rome, where deadly spectacles were once played out. We should not forget that countless thousands died here whilst even more laughed in the name of entertainment: their memory is reflected in the coda. In its unique way this icon of Rome is one of the most tragic historical places.2. Capella Sistinathe Sistine Chapel of the Vatican City is observed in a series of chorales and interludes. The visitor can look 360o around and be presented with a series of Biblical representations and commentaries. The music attempts to reflect these contrasting panels whilst ultimately bowing to the glory of this magnificent artistic creation. The coda is enigmatic, inconclusive - a single viewing cannot reveal all the mysteries and beauties within. 3. Fonatani di Trevitime for laughter and fun! The Trevi Fountain is one of Rome's finest and visually overboard locations! This is indicated as a Burletta: 'a la dolce vita' which means 'the sweet life'. This burletta (meaning 'little joke') makes use of tarantella and saltarello rhythms and features a pair of tambourines which are associated with these forms. La Dolce Vita was also a film by the renowned Italian director Federico Fellini featuring a memorable scene in the Trevi with a wet Enita Ekberg: something modern day visitors are discouraged from emulating!Duration: 11:15Recorded on Polyphonic QPRM161D ROMAN TRILOGY (TheRoyal Northern College of Music Wind Orchestra).
Estimated dispatch 7-14 working days
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£37.95
Roman Trilogy (Prestige Concert Band - Score only) - Ellerby, Martin
This work falls into three movements, all concerned with the subject of the Italian capital city of Rome, rather like previous tributes to other European citites in Paris Sketches, Venetian Spells and The Cries of London. The emphasis is on atmosphere and drama, be they respectful or joyful! It is acknowledged that Ottorino Respighi has influenced this work though his own eternal Rome tributes are not challenged here, rather saluted and celebrated.The three movements are: 1. Collosea di Romaan evergrowing march mood, builds in intensity and density as we approach the mighty Colosseum, the amphitehatre of Classical Rome, where deadly spectacles were once played out. We should not forget that countless thousands died here whilst even more laughed in the name of entertainment: their memory is reflected in the coda. In its unique way this icon of Rome is one of the most tragic historical places.2. Capella Sistinathe Sistine Chapel of the Vatican City is observed in a series of chorales and interludes. The visitor can look 360o around and be presented with a series of Biblical representations and commentaries. The music attempts to reflect these contrasting panels whilst ultimately bowing to the glory of this magnificent artistic creation. The coda is enigmatic, inconclusive - a single viewing cannot reveal all the mysteries and beauties within. 3. Fonatani di Trevitime for laughter and fun! The Trevi Fountain is one of Rome's finest and visually overboard locations! This is indicated as a Burletta: 'a la dolce vita' which means 'the sweet life'. This burletta (meaning 'little joke') makes use of tarantella and saltarello rhythms and features a pair of tambourines which are associated with these forms. La Dolce Vita was also a film by the renowned Italian director Federico Fellini featuring a memorable scene in the Trevi with a wet Enita Ekberg: something modern day visitors are discouraged from emulating!Duration: 11:15Recorded on Polyphonic QPRM161D ROMAN TRILOGY (TheRoyal Northern College of Music Wind Orchestra)
Estimated dispatch 7-14 working days
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