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£32.95Elgar Variations (Concert Band - Score only) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£111.00Dance of the Amazon (Concert Band - Score and Parts) - Lyadov, Anatoly - De Meij, Johan
The Russian composer Anatoly Lyadov was one of Rimski-Korsakov's talented students and was also a respected conductor. Lyadov's compositions are relatively few, as he did not complete many of his works. One of the pieces he did complete was called Dance of the Amazon, which was written for the dancer Ida Rubinstein. Johan de Meij's arrangement makes this charming work, based on two Greek folk melodies, accessible to concert bands for the first time ever! Duration: 3.30
Estimated dispatch 7-14 working days
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£50.50The Santa of Seville (Concert Band - Score and Parts) - Williams, Mark
What happens when Santa's sleigh accidentally lands in the middle of a production of Rossini's The Barber of Seville? Get ready for this hilarious combination of well-known Christmas favourites and themes from the opera's famous overture. Included are We Three Kings, Deck the Halls and many others as Santa attempts to out-shout the chorus of opera stars. Exaggeration of the dynamic contrasts in this arrangement will add greatly to its comic effect. Your students are sure to enjoy this piece of holiday musical fun! Duration: 2.15
Estimated dispatch 7-14 working days
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£69.99Another World's Hell (Concert Band - Score and Parts) - Dobson, Simon
Another World's Hell is inspired by a passage in Aldous Huxley's classic 1932 science-fiction novel Brave New World, which describes in unusually close detail the music that is being played at a dance. This is Dobson's interpretation of the imagined 'future music' that Huxley dreamed of. Duration: 13.00
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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£55.00Ides March (Concert Band - Score and Parts) - Bermel, Derek
Ides March was commissioned by William Brine in 1990, Bermel's first commission. Brine requested that the work be a march suitable for performance at both a wedding and a funeral. Although originally titled Brine's March, when the composer learned that the march was to receive its premiere on 15 March, he changed the title to Ides March in a umorous nod to the Shakespearean admonition 'Beware the Ides of March'; in his youthful view a sentiment appropriate for either a wedding or a funeral. However, a line from Cole Porter was the inspiration behind the major key to minor key interplay of the work: 'What could be any finer? But how strange the change from major to minor, every time we say goodbye', a line that captured the composer's attempt to write a march that did justice to both the melancholy and triumphant. Duration: 5.00
Estimated dispatch 7-14 working days
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£34.95
Melodies from Great Composers
Ray Steadman-Allen has selected 4 melodies, composed by some of the great composers, and linked them together to form a medley that will appeal to many a listener. 'Soldier's March' by Schumann, Haydn's 'Aria', 'Waltz No. 3' by Schubert and the exciting theme from 'William Tell' by Rossini have all been featured to make both a interesting and educational medley for young bands.
Estimated dispatch 7-14 working days
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£59.95Caught in the Web - Lesley Vincent
I am always inspired to write music by a good storyline so turning to Shakespeare's plays I was particularly caught by his imagery of the spider and the web. There is always some web of intrigue in Shakespeare's plots, and...
Estimated dispatch 5-7 days
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£59.95Weird Sisters - Richard Haydn Taylor
Weird Sisters 'something wicked this way comes' celebrates the 400th anniversary of William Shakespeare's death and takes its inspiration from Macbeth: Act 4, scene 1. The three witches (Weird Sisters) are stirring the bubbling cauldron, ready for Macbeth's arrival. The...
Estimated dispatch 5-7 days
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£95.00
The Pageant of London - Frank Bridge
Frank Bridge was one of the finest English composers of the first half of the 20th century. The Pageant of London is his only work for wind band, comprising of two marches, one scored from Bridge's best known organ piece and including the chimes of Big Ben, plus three short renaissance pastiche items, one arranged from Playford (later used by Peter Warlock in Capriol Suite). The music is tuneful, approachable and, in the words of wind band 'legend' Timothy Reynish makes a fine alternative to Holst's two suites, which were composed around the same time. Reynish has introduced this work to concert bands right across the world. It has been performed in USA and the Far East, recorded by the celebrated Kosei Wind Orchestra of Japan and also by the BBC National Orchestra of Wales in the Chandos edition of Bridge Orchestral Music.
In stock: Estimated delivery 1-3 days
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