Results
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£84.99Rosanna (Concert Band - Score and Parts) - Paich, David - Sheppard, Mike
In 1982, rock band Toto scored a worldwide hit with Rosanna. This song is more than five minutes long, much longer than was usual for hits at the time, though perhaps it was exactly this fact that contributed to its enormous success. The London arranger Mike Sheppard, who knows the pop and rock scene through and through, made a wonderfully colourful version of this rock standard. Duration: 4.15
Estimated dispatch 7-14 working days
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£179.99Up in the Sky (Concert Band - Score and Parts) - Schwarz, Otto M.
One of man's great dreams has always been to fly high through the air like a bird, free as a bird. There are ancient Greek legends such of those of Daedalus and Icarus, and indeed as early as the 9th century attempts at flight are reputed to have taken place in Arabia. It wasn't until 1783, however, that the invention of hot air ballooning by the Montgolfier brothers in France propelled man through the air for the first time. This colourful work depicts every step of this adventurous ballooning story.Duration: 13.00
Estimated dispatch 7-14 working days
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£375.00Facade - An Entertainment, Suite from (Concert Band with Optional Narrator - Score and Parts) - Walton, William - Noble, Paul
This Suite from Facade - An Entertainment, composed by William Walton, with poems by Dame Edith Sitwell, presents for the first time a grouping of movements selected and arranged by Paul Noble for Concert Band and optional Reciter. The original composition was written between 1921 and 1928, containing forty-three numbers. They had their origin in a new style of poetry that Edith Sitwell evolved in the early 1920s, poems that her brother Osbert later described as 'experiments in obtaining through the medium of words the rhythm and dance measures such as waltzes, polkas, foxtrots... Some of the resulting poems were sad and serious... Others were mocking and gay... All possessed a quite extraordinary and haunting fascination.' Possibly influenced by the dance references in some of the numbers, Osbert declared that the poems might be further enhanced if spoken to a musical accompaniment. The obvious choice of composer was the young man who lived and worked in an attic room of the Sitwell brothers' house in Carlyle Square W[illiam] T[urner] Walton, as he then styled himself. The now historic first performance of the Facade Entertainment took place in an L-shaped first-floor drawing-room on January 24, 1922. Accompaniments to sixteen poems and two short musical numbers were performed by an ensemble of five players. The performers were obscured from the audience by a decorated front curtain, through which a megaphone protruded for Edith to declaim her poems. This was, as she put it, 'to deprive the work of any personal quality'. The first public performance of Facade was given at the Aeolian Hall on June 12, 1923. By now, fourteen poems had been set, others revised or rejected, and an alto saxophone added to the ensemble. The occasion gave rise to widespread publicity, both pro and contra, and the name of the twenty-one year old W. T. Walton was truly launched. In the ensuing years the Facade has gone through revisions and additions, with full orchestral arrangements of selected movements being made without the Reciter. Former Band Director Robert O'Brien arranged some movements for band, again without Reciter, which are now out of print. So this 'history making' addition is the first opportunity for Concert Bands to present some movements of Facade with poems as originally intended. The luxury of electronic amplification allows the full ensemble to perform without necessarily overshadowing the Reciter. And the arrangements are written with considerable doubling so that the ensemble may play in full, or reduced in size as may be desired for proper balance. And, though not encouraged, the arrangements are written so that the band can perform the music without the Reciter. Program notes are adapted in part from those written by David Lloyd-Jones and published by Oxford University Press in the Study Score of William Walton's Facade Entertainments.
Estimated dispatch 7-14 working days
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£160.00DANCE SUITE (Concert Band) - Muldowney, Dominic
Includes:1. Hey2. Pavane/Waltz3. Polka4. Waltz/Galliard5. Tangos6. Break-DanceDance Suite displays a variety of historical dance forms from a twentieth century viewpoint. The six dances move forward historically from the ancient Hey, through Waltz and Polka, to the sophisticated Tango and the jazz tradition. The rhythm that typifies each dance is constantly under attack, sometimes from a different dance style altogether. These intrusive elements are most obvious in the final dance and prompts the double meaning of the title.I. HEYHey is constructed like a mediaeval motet, where the main blocks of material are rhythmically unconnected to one another. The percussion is the most disconnected of all and seems to have arrived from a Chinese carnival. The scoring alludes to the eight, four and two foot pipes of a baroque organ.I. PAVANE/WALTZAfter a nod in the direction of Dowland's Lachrimae Pavan, the piece seems to wander to and fro between the 16th century and the 19th century world of the Lehr waltz.I. POLKAThe Polka is derived from a four bar fragment found in Stravinsky's sketchbook for The Rite of Spring above which is written: "Dieppe Polka".I. WALTZ/GALLIARDThis is a reversal of the date-shift process in the second movement, in that the wandering goes backwards rather than forwards, particularly to the William Byrd of the Fitzwilliam Virginal Book.I. TANGOSA slow sentimental tango is sandwiched between an abstract deconstructed one, both of which are developed in Dominic Muldowney's opera The Voluptuous Tango.I. BREAK-DANCEBreak-Dance is the fastest, hardest and strangest movement. Its exuberance fractures the texture, which slowly crumbles midway through the movement, only to be resurrected mirror fashion. The piece is a species of palindrome with no true centre, hence: "Break-Dance".Conductors are free to make a selection from these dances for festival or competition programmes, when limited performance time is available.
Estimated dispatch 7-14 working days
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£159.99From Ashes to Glory - Otto M. Schwarz
Good times and bad times - we often picture them in shades of either somber black and white or vibrant color. Beautiful landscapes, tranquil villages, places brimming with peace and harmony - yet, in an instant, they can fall prey to the flames. Joy sinks into sorrow, but with every end comes a new beginning. From the ashes, something new arises, like a phoenix reborn. This has always been the way, the eternal circle of life that envelops our world.Imagine a serene landscape nestled in the mountains. Cows graze peacefully on alpine pastures, the sky stretches endlessly in a deep blue, and the warm spring sun casts its golden glow over the earth. From a hillside, we gaze down upon the village below, where quiet and peace reign. It is a place that carries the breath of time within its essence.But then, as if in a dream, the colors fade. Black and white take the stage, and we find ourselves transported 80 years into the past: it is April 20, 1943. The shadows of World War II have reached even St. Jakob am Arlberg. The swastika flag hangs heavily over the village square, while many of the village's men are away, serving on the front lines.On this day, Adolf Hitler's birthday, tragedy unfolds. A fire ignites - small at first, but fed by wind and timber, it grows into an unstoppable inferno. The flames hungrily consume house after house, and finally, they reach the village's beating heart: the church. Alarms echo through the streets, panic spreads like the fire itself, and the villagers fight desperately against the searing heat. Yet, despite their efforts, the steeple, which once rang out time for the village, collapses, and the church burns to its very foundations.The village is wounded, its people left amidst the ruins of their lives. But amid the ashes and despair, the true strength of the community emerges. Shoulder to shoulder, hand in hand, they come together to rebuild what seemed irretrievably lost.Gradually, color returns to the images. The wounds begin to heal, tears dry, and life blooms anew. The village rises again, radiant with hope and the resilience born from its darkest hours.For this is the cycle of life: from pain grows strength, and from the ashes of the past, the future is born - again and again.
Estimated dispatch 7-14 working days
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£119.60BAIA - Lionel Beltrán-Cecilia
BAIA is a symphonic episode inspired by the submerged Italian city. Through its melodies and sound effects, the authoraims to transport the audience to different moments, providing an aquatic perspective from the eyes of a restless andadventurous fish. This musical journey leads to the exploration of the city of Baia and its archaeological richness preservedbeneath the marine depths, even across time.[...In its time, Baia was an ancient Roman city that flourished during the 1st and 2nd centuries AD. It was a luxuriousdestination and a significant political and social centre in the Roman Empire. Renowned for its thermal baths, impressivearchitecture, and beautiful natural surroundings, the city became a popular retreat for Roman high society, including emperors,nobles, and artists. However, over the centuries, Baia was affected by volcanic activity and changes in the coastline, resulting ina significant portion of the city being submerged underwater. Today, the remains of Baia lie beneath the waters of the gulf,turning it into a fascinating underwater archaeological site...]
Estimated dispatch 7-14 working days
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£137.99Theme Park Fun! - Wilco Moerman
In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit, you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition.Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day full of fun and pleasure awaits! You and the other visitors willbe confronted with all the rides, attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! A parade of colorful floats and park figures is passing by.Letthe fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun, is the Haunted House. Here visitors will be challenged to visit a house full of ghosts, creepy figures and otherominous things. The clock strikes twelve, there is no turning back. Ghosts are whispering, yelling, screaming... Fortunately it is almost one oclock, so we can leave this creepy place quickly.Part 3: The Swinging Galleon [withillustrations]What a huge pirate ship! Each time you swing back and forth, you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have a fantastic view over the park, but you can not enjoy itfor long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions, it is time for a peaceful tour in The Fairy Tale Ride.Surrounded by a fairytale setting, you will discover fable figures, talking animals and colorful designs. Such a beauty and tranquility. Having had this experience, we are ready again for the big rides in the park!Part 5: The Bumper Cars[with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bump against someone else. In this tough ride you can prove yourselfas a real driver, or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest, fastest and scariest ride in the park ... we should definitely do the Roller Coaster! All together in the train, theover-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the top and the train will be plunged down the first drop! Loops,corkscrews and other spectacular coaster elements will follow... Before you know it, the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [with animation]Unfortunately everything comes to an end. Thisday in the theme park is over, but we have a lot new experiences to talk about! The memories of all the funny and spectacular rides will come up when we walk through the park to the exit. Just one look over the shoulder, the amusement park figuresare waving at us. Hopefully we will come back again soon!
Estimated dispatch 7-14 working days
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£144.99Ross Roy - Jacob de Haan
Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.
Estimated dispatch 7-14 working days
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£144.95FANFARE TO PLANET EARTH and MILLENNIUM MARCH (Prestige Concert Band - Score and Parts) - Fanshawe, David - Sparke, Philip
These two works may be performed individually or, as published, together. Fanfare to Planet Earth - the Fanfare opens dramatically with heraldic trumpets answered by sforzando strikes on deep percussion. The Fanfare embraces the splendour and grandeur of our planet Earth, molto grandioso, and culminates in a chordal cluster - a blaze of brass and percussion in G major, describing feelings of optimism at the start of the 21st century. Performance time 1'50". Millennium March - constructed along classical lines, the theme of Millennium March is catchy and not without humour. Its recurring motif on trumpets, con brio, develops the opening bars of the Fanfare. The March gathers momentum through several dramatic key-changes and ends with a surprise flourish of chromaticism, marked Tempo Apocalyptic. Cannons and fireworks are optional! Performance time 4'10'
Estimated dispatch 7-14 working days
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£32.95
FANFARE TO PLANET EARTH and MILLENNIUM MARCH (Prestige Concert Band - Score only) - Fanshawe, David - Sparke, Philip
These two works may be performed individually or, as published, together. Fanfare to Planet Earth - the Fanfare opens dramatically with heraldic trumpets answered by sforzando strikes on deep percussion. The Fanfare embraces the splendour and grandeur of our planet Earth, molto grandioso, and culminates in a chordal cluster - a blaze of brass and percussion in G major, describing feelings of optimism at the start of the 21st century. Performance time 1'50". Millennium March - constructed along classical lines, the theme of Millennium March is catchy and not without humour. Its recurring motif on trumpets, con brio, develops the opening bars of the Fanfare. The March gathers momentum through several dramatic key-changes and ends with a surprise flourish of chromaticism, marked Tempo Apocalyptic. Cannons and fireworks are optional! Performance time 4'10'
Estimated dispatch 7-14 working days
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