Results
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£154.99Alternances - AndrĂ© Waignein
In 1984 the Corciano (Italy) Tourist Authority initiated a composition competition for wind band. For this event Andr WAignein composed "Alternances for Symphonic Band", a piece which won him the first prize in the competition. The opening of the work is based on a very tonal foundation. The English horn (or alto saxophone) introduces a rich and warm theme which is immediately taken up by the whole orchestra in a grandiose manner. The subsequent development shows off all the elements of the orchestra to the full. In the second movement, the English horn (or alto saxophone) comes to the fore again. A harmonic change gradually takes us back to the allegro of the firstmovement. The musical development is here dominated by exuberance, virtuosity and rhythm.
Estimated dispatch 7-14 working days
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£206.99Songs of the East Coast Fishermen - Philip Sparke
100 years ago English composer Vaughan Williams visited Norfolk (an area on the east coast of England) to collect and notate folk songs from people of all trades and callings. Accompanied by a local clergyman, he visited The Tilden Smith, a pub which was a favourite haunt of the 'Northenders', the local fishermen, and in less than a week the composer had notated 61 songs. Vaughan Williams incorporated the best of these songs into his own music, most notably in A Norfolk Rhapsody and the Sea Symphony. Philip Sparke has composed this new suite based on five of these folk songs together with King's Lynn, a folk song which Vaughan Williams adapted into a popular hymn tune. Whynot bring a piece of traditional English heritage to any concert with this melodious new work.
Estimated dispatch 7-14 working days
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£264.99
Diferencias on an Old Spanish Song - Yasuhide Ito
I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.During this period, the growth of the internet has made it much easier to access information.When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.In recent years, the music of Luis de Narvez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.Narvez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.(English Translation:Nahoko Gotoh)
Estimated dispatch 7-14 working days
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£72.99For Heaven and the Future - Samuel R. Hazo
The title of this expansive work from Samuel Hazo draws inspiration from a Robert Frost poem, and the thematic material is a creative interpretation of the English folk song Seventeen Come Sunday. Differing from Vaughan Williams'treatment of the same tune in English Folk Song Suite, this setting remains at a slow tempo throughout and undergoes a myriad of changes through use of harmonic and textural variations. Beautifully and effectively paced with keyimpact points at just the right moments. Dur: 5:00
Estimated dispatch 7-14 working days
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£36.95Sing Lullaby (Concert Band - Score and Parts) - Wiffin, Rob
Sing Lullaby, also known as The Infant King, is an arrangement of a Basque Carol. The words were translated into English by Sabine Baring-Gould (1834-1924) an Anglican priest and folk song collector. The melody was harmonized by the English organist and music editor Edgar Pettman (1866-1943) who included it with other Basque carols (also rendered by Sabine Baring-Gould) in The University Carol Book in 1922. I use a little of Pettman's harmony but also take a different look. I also set it in 3/4 time rather than Pettman's 6/8 (starting with an anacrusis) which allowed me more freedom of expression and a chance to use a few hemiolas in poignant moments. It is a beautiful, tender carol as befits a lullaby though not without a few suspensions which allude to the future trials of the Infant King described in Baring-Gould's words.- Rob WiffinDuration: 4.15
Estimated dispatch 7-14 working days
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£36.95Remember Me (Concert Band - Score and Parts) - Purcell, Henry - Wiffin, Rob
An arrangement for wind band of Purcell's haunting Dido's Lament. This arrangement was made in the period of national mourning following the death of Her Majesty Queen Elizabeth II. I needed something as a reflective concert piece and chose to arrange Dido's Lament - the aria "When I am laid in earth" from the opera Dido and Aeneas by the English composer Henry Purcell (1659-1695). There have been various versions of this beautiful song from Stokowski's lush orchestration to Annie Lennox's more lateral slant. While not wanting to try and completely emulate the original, I did not want to stray too far from it. Purcell's style of Baroque music was uniquely English and, for the theoretically minded, this aria makes exemplary use of the passus duriusculus in the ground bass.- Rob WiffinDuration: 3.30
Estimated dispatch 7-14 working days
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£79.00As I Walked Through the Meadow (Concert Band - Score and Parts) - La Plante, Pierre
Pastorale on a Traditional English Folksong. Pierre La Plante is well-known for his mastery at creating concert band settings of folk tunes with Grainger-esque style. "As I Walked Through The Meadow" is a pastorale setting of a traditional English folk tune that, with careful attention to intonation and expressive playing, will give your ensemble's musicianship a chance to shine. The middle section is a variation on the main theme which returns, builds to a climax and ends quietly in a somewhat wistful manner. A beautiful choice for concert or contest change of pace. Outstanding music for wind band! Duration: 4.30
Estimated dispatch 7-14 working days
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£110.00Agnus Dei (from Requiem) (Concert Band with Optional Choir - Score and Parts) - Rutter, John - Noble, Paul
John Rutter's Requiem is a musical setting of parts of the Latin Requiem with added psalms and biblical verses in English, completed in 1985. This arrangement is scored for soprano, mixed choir and Concert/Wind Band. It may be performed by band alone. Five of its seven movements are based on text from the Latin Requiem Mass, while the second movement is a setting of Out of the deep (Psalm 130) and the sixth movement is an anthem The Lord is my Shepherd (Psalm 23) which Rutter had earlier written. The cello solo of the second movement is maintained, but also scored as a bassoon solo. The first movement combines the Introit and Kyrie, the third is Pie Jesu, with soprano solo. The central movement is a lively Sanctus, followed by Agnus Dei and finally Lux aeterna. In the Agnus Dei and Lux aeterna, Rutter combines the liturgical Latin text with English biblical verses. The arranger has added the tolling of the bell at the end, which can be as few or as many as may be appropriate for the occasion.
Estimated dispatch 7-14 working days
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£75.00Blessed Be That Maid Mary (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
The text for Blessed be that maid Mary comes from an anonymous 15th century English author. It makes liberal use of a common literacy device of the time: mixing English and Latin phrases together. The melody is from William Ballet's Lute Book (c.1590), David Willcocks's setting was written for the choir of King's College, Cambridge, and was first published in Carols for Choirs in 1961. This arrangement represents one in the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
Estimated dispatch 7-14 working days
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£75.00God Rest You Merry, Gentlemen (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
God Rest You Merry, Gentlemen is an English traditional Christmas carol. It is one of the oldest extant carols, dated to the 16th century or earlier. There are contradictory interpretations of the meaning of the phrase rest you merry at the time it was written in this carol: the verb 'rest' in the sense to keep, cause to continue to remain is typical of 16th to 17th century language. The adjective 'merry' in Early Modern English had a wider sense of pleasant; bountiful, prosperous. Some interpretations have 'merry' meaning 'mighty'. This arrangement represents one in the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
Estimated dispatch 7-14 working days
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