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£87.70Introduction and Rondo Capriccioso - Camille Saint-Saëns
A brilliant transcription of this very famous violin solo, utilizing a more chamber-like wind ensemble scoring in order to maintain the delicate balance between the soloist and ensemble. Instrumentation: Solo Flute, C Flute 1, C Flute 2, Oboe 1, Oboe 2, Clarinet 1, Clarinet 2, Bass Clarinet, Bassoon, Horn 1, Horn 2, Trumpet 1, Trumpet 2, Euphonium (T.C. and B.C.), Tuba, Timpani
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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£96.40The Elephant and the Fly - Henri Kling
This newly revised edition of perennial favorite "The Elephant and the Fly" is based on the original parts published in 1918. This updated version includes a full score, in addition to a few adaptations/transpositions to accommodate modern band instruments. Lastly, each of the solo parts is transposed into a variety of keys, such that a variety of soloist combinations are now possible. Instrumentation: Solo Piccolo (or Flute/Clarinet/Trumpet), Solo Trombone (or Bassoon/Bass Clarinet/Tuba), Flute 1, Flute 2, Oboe 1/2, E-Flat Clarinet, Clarinet 1, Clarinet 2/3, Bass Clarinet, Soprano Saxophone (or alternate Alto Saxophone), Alto Saxophone, Tenor Saxophone, BaritoneSaxophone, Bassoon, Horn 1/3, Horn 2/4, Solo Cornet, Cornet 1, Cornet 2/3, Trombone 1/2, Bass Trombone, Euphonium, Tuba, Percussion
Estimated dispatch 7-14 working days
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£84.99Twinkling Flutes - Richard Comello
Composer Richard Comello observed that there is practically no music written for two flutes accompanied by concert band, so he composed this delightful piece convinced that this it will fill this little gap in the repertoire. Following a solemn baroque style introduction, joyful characteristic flute sounds develop with subtle band accompaniment. The two flute parts can be played by more players so enabling this piece to put your complete flute section in the spotlight.
Estimated dispatch 7-14 working days
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£125.00Mexican Hat Dance (Flexible Trio with Concert Band - Score and Parts) - Suba, Eduardo
1st Solo part available for: Flute, Clarinet, Alto Sax, Trumpet2nd Solo part available for: Flute, Clarinet, Alto Sax, Trumpet3rd Solo part available for: Flute, Clarinet, Alto Sax, Tenor Sax, TrumpetDuration: 2:00
Estimated dispatch 7-14 working days
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£174.99Fiori - Thomas Doss
Fiori finds its genesis in a walk through an impressionistic garden. It expresses not only the atmosphere and mood but also tiny and grotesque scenes between the insects. The flute, as a solo instrument, plays a perfect role in this marvellous micro world. It was a challenge for the composer to integrate the sound of the flute through the "fragrance of flowers and exotic plants that fills the air".
Estimated dispatch 7-14 working days
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£134.99
Recalls - Ben Haemhouts
Recalls obviously refers to memories. This piece of music is in fact a series of flashbacks, however, it does not highlight the actual memories of specific thoughts, people or events.The composition evolves around the late Frans Steurs, who for manyyears was the inspirational artist behind the brass band that is currently commissioning this work. The main theme of the work is based on the name STEURS". E = mi, U = do, R = re and S = "si" which is Dutch for the note "ti". This idea forms themusical theme for the entire composition and different variations are used throughout. The structure of the work is based on the concept of a story which father Steurs is telling his two daughters, who play the flute and the clarinet. Each part ofthe work has a story-like character:1. Introduction: following a short ominous intro, the main theme is presented for the first time.2. The Story: father Steurs has both his daughters on his knee and he tells them stories from the old days. Trumpetsand trombones play variations of the theme. The story gets very exciting (accelerande, poco a poco agitato) until the tale takes a dramatic turn when the father tells an exciting story at the time of the Second World War. He tells of being hunteddown by the occupying army and these adventurous episodes are related to us musically in part3. Danger, with its skilful references to "vor dem Sturm" from "Eine Alpensinfonie" by Richard Strauss.4. called Fugitives, is about how he fled in the nightfrom the enemy and this is reflected in the bass tones of a new theme. The aggression of the war is illustrated from bar 117 onwards, by a harsh brass section. The main theme is repeated once again and this time up-tempo. The second theme is broughtonce again from bar 149 onwards.5. Dialogues, depicts the conversations between the two daughters and their father. Father speaks (bar 155); the daughters answer (bar 164 - flute, bar 166 - clarinet); bar 178: father answers with the tune of the maintheme to the two daughters. The discussions gradually intensify but ultimately end in peace in the last part called Conclusion.The piece of music "Recalls" is a free interpretation by the composer who consulted the letters between the two daughtersof Steurs and their father and in this respect it is not really music for a programme."
Estimated dispatch 7-14 working days
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£72.95
American Ballad Variants
A fresh and spirited treatment of the traditional American ballad Black Is the Color of My True Love's Hair, this fine piece for a developing band starts with a slow and atmospheric introduction featuring solos by flute and trumpet that hint at the tune. The main section sets the ballad to a driving Latin beat, but the slow reflective mood returns at the end with solos for clarinet, bass clarinet and flute.
Estimated dispatch 7-14 working days
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£47.50
Jubilation, An Overture - Robert Ward
Symphonic Set includes a full score, condensed score and parts:2 - Piccolo3 - Flute I2 - Flute II1 - Oboe I1 - Oboe II1 - Eb Clarinet1 - Solo Bb Clarinet4 - Bb Clarinet I4 - Bb Clarinet II4 - Bb Clarinet III1 - Eb Alto Clarinet1 - Bb Bass Clarinet1 - Bb Contrbass Clarinet1 - Bassoon I1 - Basson II1 - Eb Alto Saxophone I1 - Eb Alto Saxophone II1 - Bb Tenor Saxophone I1 - Bb Tenor Saxophone II1 - Eb Baritone Saxophone3 - Solo Bb Cornet I2 - Bb Cornet II2 - Bb Cornet III2 - Trumpet I1 - Trumpet II1 - F Horn I1 - F Horn II1 - F Horn III1 - F Horn IV1 - Trombone I1 - Trombone II1 - Trombone III3 - Bass Trombone1 - Bb Baritone TC1 - Bb Baritone BC3 - Basses4 - Drum, Cymbals, Xylophone1 - Timpani
Estimated dispatch 7-14 working days
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£101.30Honor to the Veterans - Tormod Brufladt
The march "Honour to the Veterans" was the composers third composition ever. He sent this march to Kjell Martinsen, who was the conductor of The Kings Guards Band in Norway. He liked the march so much that it was included on the CD which was releasedin connection with the bands 150 years anniversary.The march is not very difficult. There is a variety of melody lines in the march that differs from many other marches, especially the piccolo flute solo makes it a little bit special. Themarch is also playable for bands lacking a piccolo flute player, because the melody line in this part of the march is well taken care of.
Estimated dispatch 7-14 working days
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