Results
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£72.99Adirondack Festival Overture - Stephen Bulla
Adirondack Festival Overture is an exciting work for band that combines original music with a variety of traditional fiddle tunes from the Adirondack region of New York state. The fiddle was far and away the most popular folkinstrument of the time, and these appealing melodies have been handed down through generations of amateur players. Includes: Chateaugay Reel, The Wild Mustard River and Ripsaw. Dur: 5:30
Estimated dispatch 7-14 working days
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£50.50Rising Waters - Mark J. Connor
The rain won't stop and time is running out! "Rising Waters" perfectly captures the feeling of extreme urgency through energetic rhythmic interplay and exciting percussion. Written for beginning band using only the first six notes, this dramatic music has plenty to teach and will keep everyone on the edge of their seat!
Estimated dispatch 7-14 working days
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£89.95
At Twilight - William G. Harbinson
A beautiful ballad for band, At Twilight will help your ensemble address phrasing and melodic nuance, and is sure to bring about an expressive performance. Twilight is a subtle time of day, and composer Harbison has channeled this feeling expertly through this welcome addition to the Carl Fischer Music library.
Estimated dispatch 7-14 working days
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£186.20Le Mont St.Michel - Serge Lancen
Serge Lancen (Paris 1922) undoubtedly belongs to the top of contemporary European wind music composers. His MANHATTAN SYMPHONY (1962), CAP KENNEDY (1970), SYMPHONIE DE L'EAU (1986) and MISSA SOLEMNIS (1989) are now part of the classical modern symphonic band repertoire. Lancen always writes in the French tradition and is often inspired by folkore, the beauty of the French landscapes and even the great architectural monuments of his country. In this fine suite of four symphonic sketches he was inspired by the splendid site of the 'MONT SAINT-MICHEL'. The work dates from 1976 and was premiered by the French National Police band, conducted by Pierre Bigot, at a concert in the Paris 'Palais des Congrs' on May the 4th 1977. It evokes the splendour of one of Western Europe's great monumental abbeys.The mount arises amidst a symphony of mist and sand; the visitor goes through the main gate and enters the medieval town. He walks up to the abbey church and discovers the magnificent panorama. He recovers some time in an unexpected patch of green and admires the mighty fortress. Finally he reaches the actual abbey and visits the inspiring church and the sober refectory. At sunset, the abbey complex casts fanciful shadows on the beach and soon, in the light of the spots, the spire with the Archangel Michael lits up, high above the sea and the sand, right on the border between Normandy and Brittany.
Estimated dispatch 7-14 working days
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£84.50
The Legend of Taum Sauk - Larry Clark
A strong new concert/contest piece written to depict the legend of Taum Sauk mountain in central Missouri. It is a classic Romeo and Juliet saga that involves two different tribes of Native Americans. Larry Clark works to bring out the drama of this story through his music. It is at first fast-paced and pulsing, with a 6/8 groove followed by a love song built on the same musical material, then leading back to the uptempo music for a conclusion. A solid work for young band that can introduce 6/8 time and has cross-curricular possibilities.
Estimated dispatch 7-14 working days
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£286.40Fifth Symphony - Alfred Reed
This work was commissioned by the Senzoku Gakuen College of Music in Tokyo in celebration of its 70th anniversary in 1994. However, in view of the invitation by WASBE (World Association of Symphonic Bands and Ensembles) for its Wind Orchestra to perform at the 7th annual convention of this association, to be held in Hamamatsu, Japan, in the summer of 1995, it was decided to premiere the music at that time instead of the anniversary year itself. The symphony is in three movements, with an introduction marked 'Moderately and sustained' leading to the first movement proper, a driving 'Allegro assai' whose main thematic material is first heard in the timpani and mallet percussion. The second movement, from which the symphony drives its sub-title, is an extended treatment of one of the oldest and most beloved Japanese folk songs 'Sakura' ('Cherry Blossoms'), a long-breathed elegiac melody taken as the basis for a free variation development through all the individual sections of the orchestra. The third movement is a brilliant rondo form (Allegro Molto, con fuoco) in which some elements of the preceding two movements are incorporated to bring the entire work to a breath-taking conclusion in a final burst of virtuoso performance from every instrument in the ensemble. The 'Fifth Symphony (Sakura)' was first performed on July 26th 1995, by the Senzoku Gakuen Symphonic Wind Orchestra under the direction of the composer, at the 7th WASBE Conference in Hamamatsu, Japan.
Estimated dispatch 7-14 working days
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£106.95
Shadows - Scott Boerma
Written in memory of a prominent band director who touched the lives of so many, Shadows is an extremely emotional and passionate piece by composer Scott Boerma. It demonstrates Scott's heartfelt thoughts of admiration and sincerity through this gorgeous piece of music. We are proud to offer such a contemplative work and to have him in the Carl Fischer Music catalog for the first time. We hope to offer more of Scott's beautiful music in the near future.
Estimated dispatch 7-14 working days
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let this place - Peter Meechan
After receiving the commission from this work from Institut collgial Vincent Massey Collegiate Wind Ensemble and their conductor, Matthew Abraham, I was in the fortunate position of being able to spend time with the group talking about what music means to them, what it means to community and society, and also how they currently felt about that current community and society both from a personal perspective and a wider vision.It became clear that these grade 9 - 12 students had a deep understanding of the environment around them both locally and the world at large, and the difficulties that surround us all at this time. A sense of serious concern for the ecology of the planet was of key concern as was apparent which seemed to channel through a wider concern at the lack of humanity that we see every day in the street, in our city, in our country and in our world.let this place was written in response to those very concerns, and my anger that we have - in what feels like a very short space of time - descended in to a world where children are separated from their parents at the US border, where racism and hatred have become commonplace, where anti-Semitism has once again reared its ugly head, where gun and knife crime hardly makes the news such is its frequency, where we allow, as citizens of this planet, children to be victims of chemical weapons in Syria, destruction of human life in Yemen; the list is almost endless.We seem to have forgotten the many warnings that history has taught us, and none more so than the words of the plaque situated at Auschwitz-Birkenau:"For ever let this place be a cry of despair and a warning to humanity, where the Nazis murdered about one and a half million men, women, and children, mainly Jews from various countries of Europe.Auschwitz-Birkenau 1940 - 1945"The title of the work, let this place, is taken from the plaque and is an invitation for us all to consider those words. The first part of the work "cry" is both a reference to those that perished at the concentration camps and the sadness we should all feel that the words inscribed have been so easily forgotten.The second part "despair" is where we are now; the concerns that were raised by the students, the anger I feel, the distress that we see on a daily basis. The piece doesn't end, it merely stops; a challenge to all who play, listen and experience the piece to make a choice about the kind of world we want to live in - to cry, to despair, or to listen to the "warning to humanity".let this place was commissioned by, and dedicated to, Institut collgial Vincent Massey Collegiate Wind Ensemble and their conductor, Matthew Abraham.Peter Meechan 2019
Estimated dispatch 5-14 working days
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Soliloquies From A Quiet Place - Peter Meechan
soliloquyn."An act of speaking one's thoughts aloud when by oneself or regardless of any hearers"During summer 2018 I took a vacation at a family cabin on the banks of Buffalo Pound Lake in Saskatchewan, Canada. It is a beautifully isolated location, which provides for a near perfect view of the night skies. Gradually, as your eyes adjust to the dark, more and more stars reveal themselves to you. Time seems to stop, and you can't help reflecting in every way possible. As insignificant as viewing the heavens like this can make you feel, you also know your fleeting view is a unique moment, a moment you will never see end.One night, having sat outside until the sun began to rise, I went back inside and wrote a short chorale at the piano. It didn't have a place in any piece I was writing at that time but knew those few measures of reflection would find their place in a composition in the future - and it is from those few measures that Soliloquies From A Quiet Place grew.Told through the two trumpet soloists, these are my reflections and thoughts from that night and many others sat gazing in to the heavens.Soliloquies From A Quiet Place was written for soloists Ryan Anthony and Jens Lindemann, conductor Jerry Junkin, and The University of Texas Wind Ensemble. It is dedicated, with enormous gratitude, to Dr. Brian Berryman.Peter Meechan 2019
Estimated dispatch 5-14 working days
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Dreams Unseen - Peter Meechan
A number of traumatic global events over the past year have tested humanity. The global pandemic, racism, human rights issues, the discovery of thousands of unmarked Canadian Indigenous children's graves and climate change are testing humans' willingness to listen, hope and seek change. This three-movement work is a journey through silence, resistance and hope.Dreams Unseen begs the question, "Are we listening?"As people around the world endure and cope with significant loss, isolation, uncertainty and fear, Dreams Unseen contemplates the journey through uncertain times and is fraught with the complexities of today. As we continue to endure loss and uncertainty, we must have faith in resilience, goodwill and hope for a brighter future.Jacquie Dawson, August 2021Note from the composerWhen composing Dreams Unseen I was faced with a variety of decisions and complexities. Initially commissioned with the idea of conveying joy and hope as we emerged, or hoped to emerge, from a pandemic, too much happened around us in the world - locally, globally, and personally - that made the initial goal of the piece something that didn't represent so much that I saw.This made the selection of texts particularly difficult.As time passed, the texts originally selected became less and less appropriate to what I wanted to say, and, as the unmarked graves of murdered Indigenous children were uncovered throughout Canada on a daily basis, I felt compelled to move away from joy and the promise of hope to instead write about listening, to put hope in a more fragile, truthful context, to be grateful for those who never gave up, those who stood up in the face of all that was happening - the scientists, the leaders, people we've never met, people we know. It felt that the only way I could say all that I wanted to say as a composer was to write my own words.The first movement, In Silence, I ask us not to just hear, but to listen. It is only once we understand the truth that we can truly begin the process of reconciliation. The second movement, In Resistance, is my amazement at those who stood up in these times of adversity - specifically the scientists who saved our lives and those who continue to fight for what it right in the face of a seemingly impossible situation. I continue to believe that, because of those people, love will win, and lyrically I wanted to pay homage to that; The Beatles "In My Life" and Dr. King's "I Have A Dream" speech are both referenced.The final movement, In Hope, also takes existing words as an inspiration. The Rodgers and Hammerstein song "You'll Never Walk Alone" has been a song so close to my heart throughout my life, in the good times and difficult times alike. None of these times have been more difficult than losing a friend during the pandemic. His fight with cancer was driven by hope. A wonderful musician and human, he would also turn to "You'll Never Walk Alone" - so I chose this final movement to pay homage to the song, to my dearly missed friend, and to the idea that hope - for a better future, for a win against an almost unstoppable disease, for those whose voice is so often not heard to be listened to, and that Dr. King's words will come true - is everything.Pete Meechan, August 2021With funds from:Desautels Faculty of Music at the University of Manitoba - Jacquie Dawson, Director of BandsUniversity of Kansas - Paul Popiel, Director of BandsAnd the following commissioning partners:Arizona State University - Jason Caslor, Director of BandsGeorgia State University - Robert Ambrose, Director of BandsMarietta College - Nils Landsberg, Director of BandsNew Mexico State University - Michael Mapp, Director of BandsOregon State University - Erik Leung, Director of BandsThe Desert Winds - Charles Maguire, Artistic DirectorUniversity of Colorado Boulder - Donald McKinney, Director of BandsUniversity of Missouri - Brian Silvey, Director of Bands, and Amy Knopps, Associate Director of BandsUniversity of North Florida - Erin Bodnar, Director of BandsUniversity of Texas - Jerry Junkin, Director of BandsUniversity of Toronto - Gillian Mackay, Director of Winds ConductingValdosta State University - Ben Harper, Director of BandsWright State University - Shelley Jagow, Director of Bands
Estimated dispatch 5-14 working days
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