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£49.50The First Breath Of Spring
Adapted from one of his most outstanding symphonic works, this selection showcases the beautiful lyrical style of Ed Huckeby in a feature for solo instrument with band accompaniment. This outstanding piece provides a great opportunity to showcase one of your outstanding musicians on a beautifully sensitive selection which is sure to be a hit with both musicians and audiences.
Estimated dispatch 7-14 working days
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£84.99A Copland Portrait - David Conte
Originally commissioned by maestro Neal Gittleman, A Copland Portrait was premiered by the Dayton Philharmonic Orchestra in January 2000. In March of 2015, First Lieutenant Ryan Nowlin's transcription of this work for band was premiered by "The President's Own" United States Marine Band under the direction of Lieutenant Colonel Jason Fettig. ECS Publishing is proud to offer both the band and the orchestra version. Conte on the creation of this overture: "I set out quite consciously to evoke various aspects of Copland's work by combining and recombining them within the terms of my own musical personality. For example, the first theme of A Copland Portrait combines the character of a theme from The Red Pony with the rhythmic texture of the scherzo of the Third Symphony. While composing the piece I was conscious of drawing inspiration from many of Copland's works; a melodic shape here, a harmonic gesture there, until I arrived at something that felt fresh and new to me. A Copland Portrait is cast in a traditional Sonata-Allegro form. After a vigorous, syncopated orchestral tutti, the first theme is announced in the solo oboe, accompanied by a steady eighth-note ostinato. Playful interjections are stated in the flute and bassoon. The syncopated tutti returns; the first theme is stated again, this time in the low winds. This theme builds to a colorful climax, leading into a more dissonant transition section, which gradually slows and gives way to a lilting, more lyrical second theme in the clarinet. After some modest development of the second theme, a more plaintive theme stated in the muted trumpet brings the exposition to a close. A scherzando development section follows; the first four notes of the first theme are inverted and subjected to various contrapuntal treatments. This development section ends with a return of the opening syncopated motive, leading into a recapitulation of the first theme, this time in canon, and the second theme and closing theme, broadly sung. A brilliant toccata-style coda brings A Copland Portrait to a brisk conclusion."
Estimated dispatch 7-14 working days
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£89.99Aviation march - Wilco Moerman
Mankind has always had the desire to fly. Initially we tried to imitate birds to fly, which eventually resulted in the invention of balloons, airships, gliders and powered aircrafts. The first airship in the world that could fly in a controlled way, was invented by Henri Giffard. This airship flew on September 25, 1852 from Paris to Trappes. The ship was 43 meters long and flew 8 km per hour over a distance of 27 km. Other key names for the many changes and developments of the aviation industry, are the Wright brothers on December 17, 1903 with their first motorized flight, of 12 seconds over a distance of 37 meters with a homemade motorized aircraft called the Flyer. Later the same day this record was improved by a flight of 60 seconds over a distance of 260 meters. The first flight across the Channel between England and France was made by Louis Blriot on July 25, 1909. The distance of about 45 km was covered in a time of 37 minutes. In 1910, the first woman, a French pilot (Raymonde de LaRouche), made her first solo flight. She was also the first woman who got a license to fly.This march is a tribute to the many years of development within the aviation industry and gives voice of the pride, the romance, the heroism and the status of this way of transportation.
Estimated dispatch 7-14 working days
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£94.99O Christmas Tree
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These 'living' trees, said to be the work of benign spirits, were brought into people's houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschtz from Leipzig was the first person to notate the song 'O Tannenbaum', the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.
Estimated dispatch 7-14 working days
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£75.00Sonata - Derek Bourgeois
This work, composed in 1998, was commissioned by the American trombonist Don Lucas as a work for trombone and piano and first performed by him in Birmingham on 19th May 2000. Subsequently, I arranged the music for both solo trombone and brass band and solo trombone and wind band so that it now exists in three formats. The first movement, in B flat major, is brisk and energetic, and is cast in sonata form. The second subject is gentler and more lyrical. The second movement, a scherzo in C major, is the most complex of the four. Basically the structure is a rond. For a long time the music remains in the opening 5/8 time until a new theme introduces more broken rhythms in a more jazzy idiom. After a return of the opening theme the following episode is more tonally ambiguous. Finally, the main theme returns to round off the movement. The third movement, a lyrical adagio, is really one long extended melodic flow. The harmonies are lush and the textures simple and direct. The tonal center is A minor, but the music meanders through so many keys, that this key centre is heavily disguised. The finale is a fiery affair. G minor is really its home key, but throughout the movement the music moves about a lot and the second subject is first heard in A flat minor. The movement's underlying sonata structure is masked not only by its loose tonality but also by its frequently changing time signatures. Like the first movement the second subject is more lyrical in nature and for a while it seems that the music will end peacefully, but a final flurry heralds a triple forte unison on the home note of the first movement - B flat. Derek Bourgeois
Estimated dispatch 7-14 working days
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£286.40Poeme du Feu - Ida Gotkovsky
Major Albert Fasce, head of the musical department of the French Army, wrote about Pome du Feu:The Pome du Feu by Madame Ida Gotkovski is probably one of the original compostitions for symphonic band which has been most successful in recent years. I have had to conduct this work at concerts with different orchestras, and in particular at Budapest, and each performance was greeted by enthusiastic ovations. Moreover, it is quite rare in contemporary music to achieve, at the same time, the satisfaction of the musicians and success with the public. This is significant. This magnificent work is written remakably for wind instruments. There is no major technical difficulty, but the character of this work calls for meticulous placing and a certain orchestral glow. There is a "key" to be found in the first movement, which is in some way the rhythmic genesis of the work. The metronome marking of the first movement should be absolutely respected, and proper interpretation of the accents and the articulations are imperative. The fortissimi and rallentandi should not be exaggerated. As far as the little "trick" is concerned, this lies in the execution of the double crochets which should be considered in two ways: the first, a rhythmical one for those which arise from the rhythmic genesis, and the second more melodic for those arising in passages.Finally, to unseal the rhythmic origin of the double crochets, it is necessary to proceed by recurrence, starting from the four double crochets of the finale.These four double crochets must be executed very rhythmically in the different times. For the first, they arise:1: from the second bar of the first movement2: from the bar three bars before A for the second3: from the bar from G to the fourth time for the third.These double crochets must be played rhythmcally, while diminishing, however, those three bars before A.All this is of great importance, otherwise the whole execution will be in contradition with the spirit and the rhythmic inspiration of the work. Moreover, this beautiful work could very well support a ballet.As Head of Broadcast Music I must express all our gratitude to Madame Gotkovski for her contribution to constituting a real repertoire for wind ensemble. This articular and sometimes unappreceated band possesses unsuspected riches. This magnificent work is now in the repertoire of Musique de l'Air de France.
Estimated dispatch 7-14 working days
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£94.00Altheim - Gauthier Dupertuis
This concert march with a solemn and festive character was commissioned to Gauthier Dupertuis by the the Musikkapelle Altheim e.V (Germany) to celebrate its 100th anniversary. The thematic material of the first section of the march is based on a three-note motif, proclaimed by the brass in the first measure. The second part of this theme presents a recurring motif throughout the piece. This first section has a festive and resolutely giocoso character. The trio presents a new, more lyrical and solemn theme. After a short divertimento based on the material from the first section, the theme returns in a majestic way, leading to a climactic finale. Altheim: a concert march perfect for a festive occasion!
Estimated dispatch 7-14 working days
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£407.00Symphony Nr. 3 Urban Landscapes Op. 55 - Franco Cesarini
Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 "Urban Landscapes" Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 "Urban Landscapes" Op. 55: a sumptuous musical portrait of the "Windy City".
Estimated dispatch 7-14 working days
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£488.10The Planets - Gustav Holst
Gustav Holst (Cheltenham, 1874 - London, 1934) was one of the very first great British composers of classical music to write some valuable original compositions for symphonic band. Holst composed operas, choral works and splendid compositions for symphony orchestra. He got famous with his opus 32, the seven part suite 'The Planets' composed between 1914 and 1917. The first complete public performance was given in 1920. The first part, 'Mars, the war bringer' was written just before the outburst of the First World War. Geert Schrijvers wrote this fine arrangement for symphonic band, organ and two harps.
Estimated dispatch 7-14 working days
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£214.80Skies - Oliver Waespi
Program notes by Oliver Waespi on his composition Skies:Skies is the plural of Sky. We may wonder are there several skies? Is the sky we all long for not the same for everybody? While travelling on foot and "in the open air" I have observed the firmament often in quite different shapes, so that I can say I have indeed experienced the sky in different ways. Years ago I already wanted to portray "my sky" in music; I finally have been able to realise this long-cherished dream.This composition deals with the sky, more precisely with my sensual and emotional experience of the sky in all its aspects. Two point of views are combined in this composition: one showing the sky as it presents itself to me, the other showing the sky as I observe it. The music was bom simultaneously by intemal and extemal inspiration: it describes nature but also the emotional and spiritual experience of nature. To me, the experience of nature is not abstract, but it is connected with concrete ages, places or people from my neighbourhood. This is why I have combined several parts of this composition with certain landscapes.The sky presents itself in different landscapes in the most varied ways: for the sensual experience, there is no sky as such. The indications of places spread all over the score, are primarily clues for myself; they represent certain atmospheres, which I have experienced especially in England and Scotland. They can however also be useful to the musicians and the audience, providing they know those landscapes and the celestial atmospheres linked to them.The music is independent from the atmospheres described in the subtitles, as those are rather connected to a tragic nature, and so the music is not based on any program. Musically spoken, the composition has a symphonic structure, which means that the complete musical material is derived from three contrasting main themes. In the first part, the description of a noctumal sky ("Night") two themes are developed in an organic way; the first, rather "dusky", is to be found with the horns, the second, "in bright daylight", with the oboe and flute, the third, "more quiet" , with the brass instruments. In the next part, we have clouds and rain over the Isle of Skye (one of the Hebrides islands in Scotland) and here several elements of the first theme are still more developed. Then we get an increasingly dark mood, which is released, in heavy chords. Then suddenly, the sun breaks through and the music gets a majestic character. We have a new shape of the initial theme, first with the French horns and then with the trombones. The music gets a quicker tempo and flows into a quick movement describing the winds and waves at sea ("Wind and Waves"). Three themes are gathering and some variations are developed. The music gets more and more energetic and, after a climax, calms down again. Then we have a kind of "summer pastoral" which suggests summer at the South coast of Cornwall ("South Coast of Penwith Peninsuia in Summer"). This is certainly not the hotte st summer in Europe, but still it is beautiful in this country that is blessed with so much rain. In the "pastoral" , the sea is already sketched in broad outlines in the French horn solo. The magnificence of an aftemoon at the seaside is developed at the end of the composition ("Noon at Treen Cliff', a rock protruding in the sea next to Porthcumo at the South Coast of Cornwall); here the music gets stronger and stronger and after a majestic climax it vanishes completely.
Estimated dispatch 7-14 working days
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