Results
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£154.99The Tournament - Carl Wittrock
Colour and versatility is the key to this composition in three movements by Carl Wittrock. The Tournament is the most versatile piece of music you could wish for. Movement 1 (March) is an excellent, lively concert opener. The 2nd movement (Ballad) is a calm interlude, which provides much freedom for expression. Movement 3 (Dance) sweeps the piece along to the inevitable Grande Finale: a rousing melody with prominent rhythmic support.
Estimated dispatch 7-14 working days
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£53.50Mountain Country Dances - Johnnie Vinson
Inspired by the musical tradition of early American folk songs, Johnnie Vinson has composed this appealing suite of three contrasting dance styles. The movements include Tar Heel Two-Step, Woodland Waltz, and Blue Ridge Reel. Sureto be an entertaining and rewarding work for young bands. (Grade 2.5) Dur: 5:15
Estimated dispatch 7-14 working days
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£94.99L'Amistat - Ferrer Ferran
This paso doble, in truly Valencian and Spanish character, reflects the traditional dance form with its roots in the movements of the matador as he confronts the bull in the bullring. It's colourful character and driving beat make L'Amistat suitable for use as a concert piece or as a street march. Bring a little Spanish magic to any concert with this fiery new work.
Estimated dispatch 7-14 working days
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£134.99Iberian Trumpets - Ferrer Ferran
Iberian Trumpets is a characteristically Spanish, lively and warm-hearted composition in four movements. The opening cadence is in the form of a cante jondo - a _x005F_x001D_flamenco song. Now follows a fandango, which in turn heralds a gypsy dance with castanets. The middle section is a bolero, an enchanting melody over a continual ostinato, which leads to an energetic repeat of the fandango.
Estimated dispatch 7-14 working days
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£124.95
Sinfonietta - Score and Parts - Rob Wiffin
Program NotesSinfonietta is a challenging, extended work for symphonic wind band. It is in three movements: Dance with the Devil, A Glimpse of Paradise and Reyes Magos. The first two movements are a transition from dark to light; Dance with the Devil is aggressive and occasionally macabre whereas A Glimpse of Paradise is serene. The first and final parts of the second movement were originally written for a sequence in the Royal Military Tattoo 2000, played under the John Magee poem High Flight – ‘Oh I have slipped the surly bonds of Earth...Put out my hand, and touched the face of God’ - with videos of eagle owls in flight dramatically projected onto the buildings of Horse Guards in Whitehall, London.The last movement, Reyes Magos, is the joyous fiesta of the Three Kings. I wrote Sinfonietta while living in Spain and there January 6th, rather than Christmas Day, is the main day of present-giving, marking the Epiphany, the arrival of the Kings from the Orient at the Nativity.Sinfonietta is technically and expressively demanding but is written within the realms of tonal language.
Estimated dispatch 7-14 working days
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£24.95
Sinfonietta - Score only - Rob Wiffin
Program NotesSinfonietta is a challenging, extended work for symphonic wind band. It is in three movements: Dance with the Devil, A Glimpse of Paradise and Reyes Magos. The first two movements are a transition from dark to light; Dance with the Devil is aggressive and occasionally macabre whereas A Glimpse of Paradise is serene. The first and final parts of the second movement were originally written for a sequence in the Royal Military Tattoo 2000, played under the John Magee poem High Flight – ‘Oh I have slipped the surly bonds of Earth...Put out my hand, and touched the face of God’ - with videos of eagle owls in flight dramatically projected onto the buildings of Horse Guards in Whitehall, London.The last movement, Reyes Magos, is the joyous fiesta of the Three Kings. I wrote Sinfonietta while living in Spain and there January 6th, rather than Christmas Day, is the main day of present-giving, marking the Epiphany, the arrival of the Kings from the Orient at the Nativity.Sinfonietta is technically and expressively demanding but is written within the realms of tonal language.
Estimated dispatch 7-14 working days
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£125.00
Danceries (Set II) - Kenneth Hesketh
Danceries Set II was commissioned by Keith Allen and Birmingham Symphonic Winds, supported by PRS for Music Foundation and the RVW Trust. The world premire of this work was given by Birmingham Symphonic Winds, conducted by Keith Allen, at the CBSO Centre, Birmingham in 2011. This second set of Danceries continues the format established in Danceries (Set I), namely in using material taken from Playford's Dancing Master, a collection of folk and popular tunes published in the seventeenth century, to form the basis of an extended dance suite. In this set, the melodies have been more abstracted and project only a distant echo of their original forms, but as before, each movement is self-contained, colourful and direct, with its own distinct mood.The outer movements - Jennie's Bawbee and Peascod's Galliarda - share a use of driving percussion writing with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances. Danceries has come of age!
In stock: Estimated delivery 1-3 days
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£375.00Facade - An Entertainment, Suite from (Concert Band with Optional Narrator - Score and Parts) - Walton, William - Noble, Paul
This Suite from Facade - An Entertainment, composed by William Walton, with poems by Dame Edith Sitwell, presents for the first time a grouping of movements selected and arranged by Paul Noble for Concert Band and optional Reciter. The original composition was written between 1921 and 1928, containing forty-three numbers. They had their origin in a new style of poetry that Edith Sitwell evolved in the early 1920s, poems that her brother Osbert later described as 'experiments in obtaining through the medium of words the rhythm and dance measures such as waltzes, polkas, foxtrots... Some of the resulting poems were sad and serious... Others were mocking and gay... All possessed a quite extraordinary and haunting fascination.' Possibly influenced by the dance references in some of the numbers, Osbert declared that the poems might be further enhanced if spoken to a musical accompaniment. The obvious choice of composer was the young man who lived and worked in an attic room of the Sitwell brothers' house in Carlyle Square W[illiam] T[urner] Walton, as he then styled himself. The now historic first performance of the Facade Entertainment took place in an L-shaped first-floor drawing-room on January 24, 1922. Accompaniments to sixteen poems and two short musical numbers were performed by an ensemble of five players. The performers were obscured from the audience by a decorated front curtain, through which a megaphone protruded for Edith to declaim her poems. This was, as she put it, 'to deprive the work of any personal quality'. The first public performance of Facade was given at the Aeolian Hall on June 12, 1923. By now, fourteen poems had been set, others revised or rejected, and an alto saxophone added to the ensemble. The occasion gave rise to widespread publicity, both pro and contra, and the name of the twenty-one year old W. T. Walton was truly launched. In the ensuing years the Facade has gone through revisions and additions, with full orchestral arrangements of selected movements being made without the Reciter. Former Band Director Robert O'Brien arranged some movements for band, again without Reciter, which are now out of print. So this 'history making' addition is the first opportunity for Concert Bands to present some movements of Facade with poems as originally intended. The luxury of electronic amplification allows the full ensemble to perform without necessarily overshadowing the Reciter. And the arrangements are written with considerable doubling so that the ensemble may play in full, or reduced in size as may be desired for proper balance. And, though not encouraged, the arrangements are written so that the band can perform the music without the Reciter. Program notes are adapted in part from those written by David Lloyd-Jones and published by Oxford University Press in the Study Score of William Walton's Facade Entertainments.
Estimated dispatch 7-14 working days
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£204.99Ceremonial Wind Band Set (Score & Parts)
Ceremonial was composed for the opening of the Auditorio Florida, the home base of the Banda Primitiva de Paiporta. The composition consists of three movements. I. Introduction - The introduction is presented in the form of a fanfare; it heralds the ceremony in a majestic way. II. March - The marching music leads to an expressive and delicate melody that contrasts with the other movements.III. Dance and finale - A dance concludes the ceremony. The dance, in combination with the melodic lines, radiates energy and grandeur, and finds its climax in a grandiose moment, which every ceremony deserves. 20:00
Estimated dispatch 7-14 working days
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£69.95Aylesbury Dances (Concert Band - Score and Parts) - Wiffin, Rob
The suite Aylesbury Dances was commissioned by the Aylesbury Concert Band to mark the occasion of their 25th Anniversary in 2019. Its three movements depict different aspects of Aylesbury: I. Pavane: The Town - Having read something of the town's history and its architecture I decided I wanted to write something ceremonial with the feel of music from Tudor times. Aylesbury was given its charter and borough status in 1554 by Mary Tudor so I took that as my starting point but then added some harmony that moves forward in time. This fits with the town's motto: Semper Prorsum (Always forward) and also with the Band's evolution from Aylesbury Town Band to Aylesbury Community Concert Band to Aylesbury Concert Band. The music can be defined as a pavane, or a cortege. The sense of procession is slightly disturbed by a 'Blue Leanie' moment. The Blue Leanie is an iconic Aylesbury building, an oblique rhombic prism which stands at an angle of 17% inclination. I took a quaver out of the time signature (I know the maths don't work!) to reflect this and added some bluer harmony at that point. This opening movement gives a sense of the grandeur and heritage of Aylesbury town and a chance for my friends from the brass section to warm up! II. Siciliana: Waterside - To balance the outer two movements, the middle movement of the suite has a slow lilting 6/8 rhythm. It is in the style of a Siciliana, a dance form originating in the baroque era. It is a graceful, tender and melancholic dance, cast here in a minor key and featuring the dark voice of the cor anglais. The Siciliana was often linked with pastoral scenes and Aylesbury itself sits amid some beautiful countryside. It may, therefore, seem a bit of a stretch to call this movement 'Waterside', especially as Aylesbury is so far from the sea, but the town has a theatre of that name and that was the genesis for this particular music. There is a statue of Ronnie Barker in the grounds of the Waterside theatre as he started his career in repertory theatre in Aylesbury, so I included a fleeting reference to the theme music of the comedy programme 'Open all Hours'. III. Frolic: Ducks in a Row - It was impossible to write a piece connected with Aylesbury without considering the famous Aylesbury ducks. Duck rearing was a major industry in the town in the 19th century. The white Aylesbury Duck is a symbol of the town, appearing on its coat of arms and in the logo of the Aylesbury Concert Band! This movement is all about trying to get the little darlings in a row so they can sing their 'Duck Chorus' together but they keep on scattering, flying off or swimming away as quickly as they can manage. It's a bit like watching ducks disperse when my dog jumps into the stream after them. Eventually we get more of them in a row - even though they protest. Hidden amongst the ducks is a reference to Erica Miller, saxophonist and chairman of the band, and there's even a veiled reference to a shark in the hope of getting them out of the water. Ducks in a Row is a fun romp bringing this suite of Aylesbury Dances to a suitably celebratory conclusion.- Rob Wiffin.Duration: 9.15
Estimated dispatch 7-14 working days
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