Results
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£214.95Dance Movements (Prestige Concert Band - Score and Parts) - Sparke, Philip
Dance Movements was commissioned by the United States Air Force Band and first performed by them in February 1996. A tour-de-force for a large band, the work is in four continuous movements which have dance rhythms and moods as their basis. The second movement features the woodwinds and the third is for brass.Winner of the prestigious "Sudler Award" for new music for wind band 1997.Performance time 20'30"Recorded on QPRM129D VENETIAN SPELLS, Central Band of the Royal Air Force - 'Molto Ritmico'Recorded on QPRM130D FIESTA!, Central Band of the Royal Air Force
Estimated dispatch 7-14 working days
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£49.95
Dance Movements (Prestige Concert Band - Score only) - Sparke, Philip
Score only.Dance Movements was commissioned by the United States Air Force Band and first performed by them in February 1996. A tour-de-force for a large band, the work is in four continuous movements which have dance rhythms and moods as their basis. The second movement features the woodwinds and the third is for brass. Winner of the prestigious "Sudler Award" for new music for wind band 1997.Performance time 20'30"Recorded on QPRM129D VENETIAN SPELLS, Central Band of the Royal Air Force - 'Molto Ritmico'Recorded on QPRM130D FIESTA!, Central Band of the Royal Air Force
Estimated dispatch 7-14 working days
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£79.99Juba Dance (from Symphony No.1 in E minor) (Concert Band - Score and Parts) - Price, Florence - Bocook, Jay
Florence Price (1887-1953) is noted as the first African-American female composer of symphonic works, and is only in recent years beginning to receive the recognition so richly deserved. Her Symphony No. 1 was completed in 1932 and first performed in 1933 by the Chicago Symphony Orchestra. Here is a sparkling transcription for band of the third movement (Juba Dance). Duration: 3:45
Estimated dispatch 7-14 working days
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£57.50The Lost Lady (Dance Song from Lincolnshire Posy) (Concert Band - Score and Parts) - Grainger, Percy Aldridge - Sweeney, Michael
The final movement of Percy Grainger's masterwork Lincolnshire Posy is arranged here for younger bands with reduced instrumentation. Similar to his earlier adaptation of "Horkstow Grange", Michael Sweeney carefully maintains the structural and harmonic integrity of the original while providing an authentic-sounding version at an easy level. Certain to become a "must have" for the young band repertoire. Duration: 2.50
Estimated dispatch 7-14 working days
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£49.50Introduction And Dance (Concert Band - Score and Parts) - Handel, George Frideric
George Frederick Handel (1685-1759) originally wrote this "Sarabande" as the third movement of his Suite No. 4 for harpsichord. Ralph Gingery expertly arranged this rich stately music (used as the theme in the film "Barry Lyndon") for successful performance by younger bands. However, the work also remains a rewarding and valuable piece for more mature ensembles.
Estimated dispatch 7-14 working days
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£79.99
Rustic Dance - Youthful Suite, Movement 2 - Percy Aldridge Grainger
Estimated dispatch 7-14 working days
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£84.00Sunscapes (Concert Band - Score and Parts) - Wilson, Chandler L.
This exciting work depicts the lively and sunny nature of the state of Florida. Opening with a brilliant and majestic section highlighting the state's bright and vibrant culture, a flowing melody follows, representing the calming winds and consistent breeze of the state. Dance is a large part of Florida's culture, especially in its southern region, and the 7/8 rhythm captures an Afro-Latin style dance movement. The chorale/hymn section is based on the "Florida Song," which is a traditional school song of many schools, including Florida A&M in Tallahassee. The work then recapitulates and moves toward a driving and joyful conclusion. An excellent contest/festival work! Duration: 4.45
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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£159.00Greek Folk Song Suite No. 2 - Franco Cesarini
After the great success of the Greek Folk Song Suite that has lasted for over twenty years, Franco Cesarini once again ventures into the long and rich tradition of Greek folk music. In his Greek Folk Song Suite No. 2, the three movements that form the piece are named after the three dances reworked by the composer.The first movement, Samiotissa is a kalamatianos, whose most distinctive feature is the irregular 7/8-time signature. It is a festive dance, today considered the Greek national dance, which has roots dating back to antiquity.The second movement, Kato sto jalo is a zeibekiko, a slow-paced dance performed by only one man at a time which was apparently originated among the warriors of Ancient Anatolia.The third and last movement, Chasaposerviko, is the fast part of the hasapiko dance and is characterized by its more extensive form.A new journey into the Greek folk tradition that will delight both performers and audience.
Estimated dispatch 7-14 working days
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£174.99The Graces of Love - Oliver Waespi
"The Graces of Love" (Le Gratie d'Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milanese court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune 'Il bianco fior' (The White Flower) on which the first movement of Oliver Waespi's piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune 'Vaghe bellezze ...' (Veiled Beauty ...). Widely spaced melodic parts surround two solos during which the tune is varied anddeveloped. Finally, the third movement contains a Saltarello based on a tune by Vincenzo Galilei, the father of the famous astronomer, Galileo Galilei. It brings the work to a close with a hypnotic rhythm which is noble and virtuosic at the same time.
Estimated dispatch 7-14 working days
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