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£191.30Alexander VI (Movement I from Symphony No.1, The Borgias) (Concert Band - Score and Parts) - Schwarz, Otto M.
The Borgia family is the subject of a so-called black legend, a pejorative term that has been used since the Middle Ages to refer to Spain and Spaniards. The Borgias' black legend is one of corruption, abuse of power, orgies, sex and murder. These rumours spread especially during the reign of Pope Alexander VI, a member of the family. Alexander was even referred to as the Antichrist. According to eyewitnesses, when he died Satan prowled the death chamber and a black dog, an envoy of the Devil, ran up and down the aisles of the Vatican. The brutal rule of Pope Alexander and his family led to a kind of demonization of the Borgia family. But it is precisely the lack of scruples, the brewing of poisons, the incest and various cruelties that continue to hold a certain fascination for us.Alexander VI: Rodrigo Borgia was born in 1431 near Valencia. He studied law in Bologna and, through his uncle Pope Calixtus III, he rose through the church hierarchy. As vice-chancellor of the Holy Roman Catholic church, he became one of the richest men in Europe. As a cardinal he fathered four children who he later legitimised when he became pope. His election to the papacy was funded by the sale of offices, extortion and bribes of all kinds. Through an alliance with Ascanio Sforza he was elected pope on August 11 1492 and named himself from then on Alexander VI, an allusion to Alexander the Great.Duration: 9.30
Estimated dispatch 7-14 working days
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£75.00Masters inTthis Hall (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
Masters in This Hall (alternative title: Nowell, Sing We Clear) is a Christmas carol with words written around 1860 by the English poet and artist William Morris to an old French dance tune. It is said to have a sixteenth-century feel, harking back to a simpler society, in line with Morris's own romanticism. It also has elements of Morris's socialist beliefs, with the poor bringing news of Christ's birth to the Masters in this Hall and a warning to the proud. The carol describes a poor man, emphasized by his rural dialect, drawing his master's attention to the birth of Christ by describing how he had met shepherds travelling to Bethlehem in solemn mood where, joining them, he had seen the Christ child in his mother's arms. The chorus repeats how the birth of Christ has raised up the poor and cast down the proud. This represents one of the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
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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£100.80Nostradamus (Concert Band - Score and Parts) - Schwarz, Otto M.
Nostradamus was one of humankind's greatest prophets. Many of his coded prophecies proved true. He lived at the time of the inquisition, and his predictions and medical therapies as a physician made him face consequences from the church. After he had been forced to flee several times and had lost his family to the plague, he devoted himself to clairvoyance. He wrote down many events in history in coded predictions. Although there is probably more than one possible way of interpretation, in our world, Nostradamus is still considered to be a unique personality. Whether he is degraded to a charlatan or turned into a myth, he surely has moved humankind with his prophecies. Otto M. Schwarz, soundtrack composer since 2001, wrote a cinematographic work about this man, who is probably the best-known prophet of the last 1000 years.
Estimated dispatch 7-14 working days
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£242.50Labyrinth for Symphonic Band (Concert Band - Score and Parts) - Aagaard-Nilsen, Torstein
I wrote Labyrinth to celebrate the 450th anniversary for the city of Fredrikstad. The Danish king Fredrik II agreed to establish a new town further down the river Glomma, to make it easier to defend from the Swedes. The piece is a network of quotations mixed with my own pitch material. My versions of the quoted melodies are not authentic, and sometimes hard to recognize. However, the different quotations give the music an aura of tonality. For example, a dance tune composed by the Flemish composer Mattheus Le Maistre (1505-1577). The melody also occurs in the first danish book of hymns written after the reformation. Since Norway for 400 years was a part of Denmark and everybody had to write and read Danish, they used much of the same music, too. I also use regular Danish hymn tunes and quote from a religious folk song from the area around Fredrikstad. The military signals I use are authentic (for example, The Old Danish March), and I am very sure they were used in the Old Town (the fortress) of Fredrikstad. The drums quote from The Downfall of Paris. This could have been heard played by professional soldiers hired by the Swedes from Scotland. This edition is a revised version made in 2020. - Torstein Aagaard-Nilsen. Duration: 23.00
Estimated dispatch 7-14 working days
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£85.00O Little Town of Bethlehem (Concert Band - Score and Parts) - Brooks & Redner - Hannevik, John Philip
The text for this carol was written by the Episcopal priest Phillips Brooks in 1865, and it was inspired by his visit to Bethlehem three years earlier. He asked his organist in the Church of the Holy Trinity in Philadelphia, Lewis Redner, to write a tune to his poem. Lewis Redner himself later told that he found it hard to write a good tune for the text. But the night before the first performance "I was roused from sleep late in the night hearing an angel-strain whispering in my ear, and seizing a piece of music paper I jotted down the treble of the tune as we now have it, and on Sunday morning before going to church I filled in the harmony. Neither Mr. Brooks nor I ever thought the carol or the music to it would live beyond that Christmas of 1868." Duration: 2.20
Estimated dispatch 7-14 working days
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£73.50The American Road (Concert Band - Score and Parts) - Brubaker, Jerry
This piece for symphonic band by Jerry Brubaker is a musical excursion into the American driving experience. From majestic mountain vistas and wide open spaces to the hustle and bustle of rush hour traffic. There is even a section about the beloved covered bridge. Find one and there's bound to be an interesting little two lane country road leading up to it. The piece is designed around just two themes which are tied together in the final section which the composer calls "Our Favorite Road". This can be the road to the beach, to the mountains or just simply cruisin' with the top down on a summer afternoon! Enjoy this delightful taste of Americana. Duration: 7:15
Estimated dispatch 7-14 working days
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£73.50Beyond Whistler (Concert Band - Score and Parts) - Ford, Ralph
The closing movement from the Sea to Sky Suite is Beyond Whistler. After whisking down this highest and most treacherous of slopes, the listener stops to view what lies beyond. This movement is finalized with a long, slow build to the climax, again using the motif that is present throughout the entire suite. It is to be performed with a great sense of wonder and excitement, with a gradual build to the end. A grand conclusion to this dynamic suite. Also consider programming the first three movements: March: The Lion's Gate, Shannon Falls and Stawamus Chief.Duration: 7:15
Estimated dispatch 7-14 working days
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£233.50Mosaici Bizantini (Concert Band - Score and Parts) - Cesarini, Franco
Three Byzantine mosaics, to be seen in churches in Venice and Palermo inspired Franco Cesarini to compose this work. He took the musical motives from Gregorian chants. The mosaics concerned depict the following extracts from "The Gospel According to St. Matthew".I. The Nativity: The Magi from the East: "Where is the new-born King of the Jews? For we have seen his star in far-off eastern lands and we have come to worship Him."II. The Temple of Jerusalem: And look! The curtain secluding the Holiest Place in the Temple was split apart from top to bottom: and the earth shook and rocks broke, and tombs opened and many godly men and women who had died, come back to life again.III. Angel of the Resurrection: An angel of the Lord come down from heaven drew near, rolled away the stone and sat upon it. His countenance was lightning and his attire white as snow.Duration: 19:45
Estimated dispatch 7-14 working days
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