Results
-
£256.0014 Motetten - Anton Bruckner
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism.Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism.Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892.Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra.These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz.From this developed his personal standpoint, which always pursues the connection between the old and the new.
Estimated dispatch 7-14 working days
-
£95.995 Tantum Ergo - Anton Bruckner
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism.Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism.Hymns for four-part mixed choir a cappella (1846, St. Florian)No. 1 in E flat major (WAB 41/3): Quite SlowNo. 2 in C major (WAB 41/4): AndanteNo. 3 in B flat major (WAB 41/1): SlowNo. 4 in A flat major (WAB 41/2): SlowHymn for five-part (2 S, A, T, B) mixed choir and organNo. 5 in D major: SolemnlyThey are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.
Estimated dispatch 7-14 working days
-
£137.00
L'Arco Della Vita - Holsinger
Composer David Holsinger's insightful view of the "Arc of Life" is brought to musical life with L'Arco Della Vita. Departing from usual compositional styles, this work is set on the framework of piano and melodic percussion, presenting a series of ever-winding variations and subsequent vanishing end which provide a musical experience unlike any other. Challenging, but musically rewarding, L'Arco Della Vita utilizes the total soundscape of the concert band. A thought-provoking and engaging work from a master composer!
Estimated dispatch 7-14 working days
-
£228.70Celebration for Band - John Brakstad
Many Norwegian bands have grown up around factories, but Norwegian factories are often located in the countrysides - by a fjord or lake, by a river or waterfall that provided power for the factory. The factory was the foundation for the existence of the community, but it was also essential for the community's cultural life, choirs, bands etc. (cp. British brass bands and mining). "Celebration for band" tries to give a picture of the environment and life around a band like this, with both factory noise and the natural world (Pastorale), as well as the challenges and development of the band itself. The composition is built up of five connected episodes: - Fanfare and Prologue (concludes with a feeling of the untamed power of the river) - Pastorale I: " At the river" - Intermezzo: " The Factory" (starts with the opening of water for the turbines: snare drum. Factory whistle and bell call to work, and the spinning and weaving machinery starts up.) - Pastorale II: " Summer evening on the fjord." - Finale: " Challenge and Progress"
Estimated dispatch 7-14 working days
-
£106.95
Dream, Imagine, Live - Larry Clark
The inspiration for this piece comes from one of Henry David Thoreau's most famous quotes - Go confidently in the direction of your dreams! Live the life you've imagined. It was Thoreau's vision that we contemplate a simpler life and be deep thinkers about what we want our lives to be. The piece is divided into three distinct sections based on the same three-note motive. The first section is intense and bold, the second is introspective and lyrical and the third is dance-like, almost reminiscent of a Celtic folk song, in lilting in 6/8. This perfect contest or festival selection will highlight your band's strengths.
Estimated dispatch 7-14 working days
-
£139.99Country Scenes - Hans Aerts
Country Scenes takes us back to the early English settlements on the American east coast. The opening section, Daybreak, depicts daybreak in a small village where people go about their daily business. In the second movement, Procession, we hear a stately and elaborate funeral march that symbolises the intertwining of religion with everyday life. The closing section, Village Dance, which is written in rondo form, brings the lively atmosphere of a village festival to life.
Estimated dispatch 7-14 working days
-
£202.99Captain Marco - Hayato Hirose
Hayato Hirose composed this dramatic piece based on the great journey of Marco Polo, Italian traveller and one of the first Europeans ever to visit Asia. In the 13th century, he made a long journey from Venice to Mongolia with his father. After his arrival, he was sent to the various regions in Asia by the Mongolian government to take notes about the culture, the people, and the way of life in those areas. Celebrate the life of this great explorer with this dynamic new concert work.
Estimated dispatch 7-14 working days
-
£149.99Aureus - Stijn Roels
This composition was written on the occasion of the golden jubilee of the De Pinte wind band. This is also the derivation of Latin title Aureus (golden - from the word aurum, or gold). This work is comprised of three main sections. Thefirst and last sections are predominantly a musical setting of the concepts of celebration and joy in keeping with the theme of jubilee. The music is therefore above all dynamic, energetic and extrovert. The middle section has a more introspective,melodic character, contemplating the subtle beauty of life. Aureus is a newly composed chorale that establishes the most important attributes in life and also within a club or association: love, friendship, health and happiness.
Estimated dispatch 7-14 working days
-
£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 14.00
Estimated dispatch 7-14 working days
-
£95.995 Tantum Ergo (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.Duration: 11.00
Estimated dispatch 7-14 working days
View Music