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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated dispatch 7-14 working days
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£264.99
Diferencias on an Old Spanish Song - Yasuhide Ito
I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.During this period, the growth of the internet has made it much easier to access information.When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.In recent years, the music of Luis de Narvez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.Narvez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.(English Translation:Nahoko Gotoh)
Estimated dispatch 7-14 working days
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£137.99Oregon - Jacob de Haan
This fantasy tells the story of Oregon, one of America's north-western states. Traveling by train on the Northern Pacific Railroad, the listener is taken through the fascinating Oregon landscape. Indians, cowboys, golddiggers and hooded wagons will file past on this adventurous journey. The piece has some similarities with a soundtrack of a movie. Various melodies, which could be the main themes of a movie, pass the review.The piece begins in a slow movement, introducing the first theme in minor. Then we hear in the following fast movement the trombones imitate the train, whistling the steam-flute. We hear the characteristic minor theme again, but now in different variants(also in major). The rythmic structure of "western" stile and rock succeed each other. This is leading to the slow movement, where the signals of horns and trumpets introduce a wonderful vocal melody. After this characteristic melody, the fast movement appears shortly again, the trombones whistling the steam-flute again (now in major). We hear also some musical elements, that plays a part in the following Presto. Barchanges, jazzy chords, interesting rhytmic patterns (with bongo) and an original theme are the characteristics of this Presto. After this, the horns announce the last section of the piece. Interesting is the fact that we hear in this Allegro section a variant of the vocal melody in the slow movement. Also the Presto theme returns shortly, followed by the Allargando, which is a grand characteristic end of a soundtrack. The movie of our travelling fantasy has come to an end.
Estimated dispatch 7-14 working days
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£134.99
Marche au Supplice - Hector Berlioz
Hector Berlioz (1803-1869) once remarked: "My life is a novel that greatly interests me." Experiences in his personal life had a great influence on his compositions. Symphonie Fantastique, written in 1830, is also autobiographical: he subtitled the work Episode in the Life of an Artist. The symphony echoes his feelings for an actress. The Marche au Supplice (march into torture) he described as: "The artist dreams he has killed his beloved, that he has been sentenced to death and is being led to the scaffold. The procession moves to the notes of a march that is now sombre and turbulent, now radiant and stately, and in which boisterous outbursts suddenly dissolve intothe heavy sound of marching feet."
Estimated dispatch 7-14 working days
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£117.80Freedom Defended - Rossano Galante
Inspired by the non-violent civil rights protest of February 1, 1960 against a segregated lunch counter in Greensboro, NC, Freedom Defended strives to encapsulate the story of this now historic event. Commissioned by the band directors of the North Carolina Central District and East Central District Bandmasters Associations, this four movement piece honors each of the North Carolina Agricultural and Technical State University students known as the "Greensboro Four", Joseph McNeil, Franklin McCain, Ezell Blair Jr., and David Richmond. Their actions directly led to the Civil Rights Act of 1964 which mandated desegregation in public spaces. Movement 1 (Da Sogno) - The opening thematic material is dream-like and idyllic as the "Greensboro Four" enter the Woolworth Store at 132 South Elm Street and peacefully sit at the lunch counter and order coffee. Movement 2 (Con Fuoco) - The piece takes a dark turn when they are refused service and are told "We don't serve Negros here". The music is somewhat dissonant and rhythmic but a heroic theme captures the tenacity and courage of these brave young men. Movement 3 (Molto Cantabile) - A plaintiff theme portrays the hopelessness the four freshmen faced as they continued to be refused service until they leave when the store closed that night. Movement 4 (Con Spirito) - Undeterred, the "Greensboro Four" returned the next day, this time joined by more than twenty other black students. While they were again refused service, the sitins began to attract media attention and each day more and more students, both black and white, joined the cause. By February 4th, over 300 students staged sit-ins not only at the Woolworth Store but also the lunch counter at Greensboro's S. H. Kress & Co. The music is rejoicing and uplifting, similar to the opening statement, but now fully orchestrated and more fully developed. Coda - a quiet theme based on the motives from the opening thematic material brings the work to a reflective close as we remember these four men who, in the face of adversity, stood up for equality for all men and women.
Estimated dispatch 7-14 working days
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£79.95
Celestial Prospect - Wilfred Heaton
Wilfred Heaton's compositions have a worldwide appreciation and although his output was small it is work of the highest integrity and calibre. The history surrounding 'Celestial Prospect' is somewhat sketchy. The composer describes it as a re-casting of an earlier work written sometime in the 1940's, the score of which is now lost. The theme 'Come Comrades Dear' has been known from Christian Mission days and reflects the composer's penchant for old Salvation Army tunes which are simple and direct in character. The following 5 variations contain much interest and originality including a beautiful elegy to departed comrades.
Estimated dispatch 7-14 working days
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£29.95
I Vow to Thee, My Country - Score and Parts - Gustav Holst
Program NotesGustav Holst's orchestral suite The Planets is perhaps his best known and most popular composition. The them in the central section of the movement Jupiter was adapted by the composer himself to fit the words of the song and has subsequently found its way into use as a hymn tune under the title Thaxted (named after the Essex town where the composer lived).Ray Steadman-Allen's arrangement of the tune for brass band was published by The Salvation Army in 1998. That arrangement has now been transcribed for wind band by Brian Bowen. It can be effectively used as a stand-alone concert item or as a song accompaniment for either choir or audience.
Estimated dispatch 7-14 working days
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£5.95
I Vow to Thee, My Country - Score only - Gustav Holst
Program NotesGustav Holst's orchestral suite The Planets is perhaps his best known and most popular composition. The them in the central section of the movement Jupiter was adapted by the composer himself to fit the words of the song and has subsequently found its way into use as a hymn tune under the title Thaxted (named after the Essex town where the composer lived).Ray Steadman-Allen's arrangement of the tune for brass band was published by The Salvation Army in 1998. That arrangement has now been transcribed for wind band by Brian Bowen. It can be effectively used as a stand-alone concert item or as a song accompaniment for either choir or audience.
Estimated dispatch 7-14 working days
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£29.99
Meditation on St Clement - David Chaulk
Inevitably, comparisons will be made with Philip Wilby's setting of the same hymn tune so It's interesting to note that this arrangement was done in 1983 - ten years prior to Wilby's very fine arrangement. It's being published now in response to many requests from bands around the world and will make an excellent addition to the sacred repertoire of brass and concert bands.
Estimated dispatch 7-14 working days
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£54.95
Praise - Score and Parts - Wilfred Heaton
Originally published for brass band in 1949, Wilfred Heaton's festival march Praise is a classic example of his creativity and was rightly described as 'groundbreaking' when it first appeared in print. Using an old chorus melody 'Praise, O Praise Him' – a melody that has now fallen from use with The Salvation Army – Praise is full of drive and energy, with typically quirky features that require detailed attention in rehearsal.
Estimated dispatch 7-14 working days
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