Results
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£27.95Light Music (Concert Band - Score only) - Wiffin, Rob
The title Light Music alludes to different things. Most of the music in the suite is light in nature, and is in the inherently British tradition of 'light music' - original pieces which are often descriptive but essentially melodic. In another sense the music depicts various aspects of light itself. The title itself is a trick of the light!The first movement, Lightscape, portrays shifting patterns and types of light, highlighting some details and obscuring others. It is sometimes vibrant, dancing and full of movement, and sometimes tranquil.The second movement, At the going down of the sun, considers the light of the sun as it sets. Because of the nature of his career, the composer has written a fair amount of ceremonial music and this movement is close to that genre once again. There is, in the title, a reference to the familiar Remembrance line 'At the going down of the sun and in the morning we will remember them' from the poem For the Fallen by Robert Laurence Binyon (1869-1943) written in September 1914, a few weeks after the outbreak of the First World War. While the music is not a setting of these words - or in any way referential - there is an echo of the words 'We will remember them'.The suite finishes with Set Alight which starts off with a few combustible bars as the flame catches and then the fire is under way.Duration: 11.30
Estimated dispatch 7-14 working days
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£137.95
Light Music (Concert Band - Score and Parts) - Wiffin, Rob
The title Light Music alludes to different things. Most of the music in the suite is light in nature, and is in the inherently British tradition of 'light music' - original pieces which are often descriptive but essentially melodic. In another sense the music depicts various aspects of light itself. The title itself is a trick of the light!The first movement, Lightscape, portrays shifting patterns and types of light, highlighting some details and obscuring others. It is sometimes vibrant, dancing and full of movement, and sometimes tranquil.The second movement, At the going down of the sun, considers the light of the sun as it sets. Because of the nature of his career, the composer has written a fair amount of ceremonial music and this movement is close to that genre once again. There is, in the title, a reference to the familiar Remembrance line 'At the going down of the sun and in the morning we will remember them' from the poem For the Fallen by Robert Laurence Binyon (1869-1943) written in September 1914, a few weeks after the outbreak of the First World War. While the music is not a setting of these words - or in any way referential - there is an echo of the words 'We will remember them'.The suite finishes with Set Alight which starts off with a few combustible bars as the flame catches and then the fire is under way.Duration: 11.30
Estimated dispatch 7-14 working days
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£75.00Sussex Carol (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
The Sussex Carol is a Christmas carol popular in Britain, sometimes referred to by its first line On Christmas night all Christians sing. Its words were first published by Luke Wadding, a 17th-century Irish bishop, in a work called Small Garland of Pious and Godly Songs (1684). It is unclear whether Wadding wrote the song or was recording an earlier composition. Both the text and the tune to which it is now sung were discovered and written down by Cecil Sharp in Buckland, Gloucestershire, and Ralph Vaughan Williams, who heard it being sung by a Harriet Verrall of Monk's Gate, near Horsham, Sussex (hence Sussex Carol). The tune to which it is generally sung today is the one Vaughan Williams took down from Mrs. Verrall and published in 1919.
Estimated dispatch 7-14 working days
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£78.00Handel in the Strand (Concert Band - Score and Parts) - Grainger, Percy Aldridge - Rohrer, Thomas P.
This delightful Grainger classic was written to depict a jolly old George Friedrich Handel careening down the Strand (the theatre district of London) accompanied by the English popular music of the day. Given the original instrumentation and label as a chamber piece in Grainger's original publication, this transcription is taken directly from Grainger's "four-some" edition of 1912, transposed down a step from G to F major. It is scored to best depict the light (and sometimes percussive) quality of the piano along with the lyrical flow of the strings and the general character of chamber music. Ultimately, the "room music" quality of the original shines through in this skilful transcription while depicting the spirit of the piece in a way that Grainger might have chosen.Duration: 3:35
Estimated dispatch 7-14 working days
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£45.00The Santa Express (Concert Band - Score and Parts) - Phillips, Todd
All aboard the "The Santa Express!" We embark on a festive trip with an exciting mash-up of two holiday favorites, "Jingle Bells" and "Up on the Housetop." Throughout the piece, and as the train chugs along, the melodies pass cleverly among all the sections. As "The Santa Express" slows down, and just when you think it has stopped, it accelerates before a final slow down; expressed vocally by the full band. But, the real question is, who will be the engineer of your train - the whistle blower? "The Santa Express" is sure to bring a smile to performers and audiences everywhere. Get your band "on track" with "The Santa Express!" Duration: 2.00
Estimated dispatch 7-14 working days
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£141.99Shaker Heights Fantasy (Concert Band - Score and Parts) - Sparke, Philip
The Shakers were a sect who, in the 18th Century, sailed out from England to America. Right into the late 19th Century, the numerous songs of this community were handed down orally, until they were written down in various volumes of song collections. Philip Sparkes fantasy for wind band is based on a selection of these beautiful, captivatingly simple songs.Duration: 9:30
Estimated dispatch 7-14 working days
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£205.70In Nomine (Concert Band - Score and Parts) - Schwarz, Otto M.
How often has something been justified by, declared to be, or blessed as 'in the name of' some cause or other? How can it be that opposing armies and the use of weapons are ever 'in the name of...'? This is a common thread in the history of different faiths. Good was created but evil was committed and all 'in the name of...' This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium ('the desert will bloom like a lily'); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' leftovers on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music, which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it, that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life, the Premonstratensian abbey, is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.Duration: 11.15
Estimated dispatch 7-14 working days
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£421.99The Book of Urizen (Movements I: The Vision and II: The Creation) (Soprano, Narrator and Concert Band - Score and Parts) - De Haan, Jacob
The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustrated himself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, a religious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can be played easily at the right moment.The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in "The Net of Religion," which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin in Jerusalem, the Holy City, where the afore-mentioned faiths come together.In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the "Eternals." His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, "the flames of eternal fury," and enwombs himself in his own world. When the Eternals see Urizen in his "stony sleep," they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen's world concrete form.In the second movement, The Creation, Urizen's world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen's body. He mourns and pities Urizen, and from his blood a female form comes into being, with the name Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the "fallen world." Orc is fed at Enitharmon's breast, which makes a girdle of jealousy restrict Los' chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles the face of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, the third movement of The Book of Urizen, is available in a separate set.
Estimated dispatch 7-14 working days
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£164.95Euphonium Concerto (Concert Band - Score and Parts) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95
Euphonium Concerto (Concert Band - Score only) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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