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£289.99Divertimento - Oliver Waespi
This grand work contains four contrasting movements. The first movement, Prelude, takes the form of an overture: it raises the curtains and marks the beginning of the piece. The brilliant motifs of the opening are contrasted by a calmer and more lyrical central section, after which the triumphant opening returns for the movement's end. The second movement, Meditation, explores the intimate sounds of the oboe, as well as those of the flute and French horn, backed by a rich orchestral accompaniment. The third movement presents a more upbeat Procession, but not a Procession of the Nobles, as written by Rimsky-Korsakov. Quite the opposite, Procession resembles a "second line"procession from New Orleans, whose up-beat rhythms invite everyone to dance in the streets rather than the measured pacing of a march. Divertimento ends with a Hoedown, the tradition American folk dance idiom, when the band has the opportunity for both vivacity and virtuosity and may play as fast as it can. It is important to play all four movements with precision, clarity and, most importantly, enthusiasm.
Estimated dispatch 7-14 working days
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£109.99
The Bermuda Mystery - Wouter Lenaerts
The rather static character of the first part is built up of only 1 bar, which consists of a sequence of two extended triads above a pedal note (B-flat). The main motive, derived from these triads, is introduced by the horns giving a threatening initial atmosphere. This is abruptly taken over by the clarinet and the oboe, after which violence erupts.In contrast to the mysterious character of the first section, the second part shows a more resigned atmosphere with long drawn out phrases. These are constantly interupted by references to the initial material and develop into a dramatic climax. The main motif reappears for a final time on the trumpet, which, under theinfluence of the second theme, takes on a more resigned character as it gradually fades into silence.
Estimated dispatch 7-14 working days
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£109.99
Dublimania - Menno Bosgra
This new work is based on Irish folk music.In the first part, the main theme is presented as a ballad, starting with the piccolo (as replacement for the flute which is widely used in Ireland), moving on the wood section to end with the entire orchestra.It then changes to a kind of rock style theme: powerful, rhythmic accompaniment with effects in dampers, a pedal point and the use of the spoons which is typical of Irish music (Irish pub), high-range bongo drum (replacement for the Bodhran), etc.In this second part I introduced a second theme as a counterbalance, played by several groups, which has clearly a more legato character and therefore sounds more melodious.The climaxof the work starts in the low-range brass section with its marcato theme that is developed with a great deal of rhythmicity in the accompaniment, clusters, etc. into a percussion solo interspersed by the orchestra in five-eight time with frequent parallel movement in chords (folk music style).Towards the end, theme 2 recurs twice: first as heard earlier with an extra counter melody and accompaniment pattern, then in a canonical form, in which the theme is played by three groups. The conclusion is a repeat of the middle section in five-eight time.I have tried to use many of the colours of a wind orchestra by having the wood sections and brass section play alone and making extensive use of dampers. Percussion also has a prominent role throughout the work.
Estimated dispatch 7-14 working days
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£139.99
Cobra - Jan Bosveld
Shortly after the Second World War, a combative movement of Danish, Belgian and Dutch artists chose the cobra snake - extremely dangerous yet considered sacred - as a symbol of their resistance to strict guideliness of form. The name "Cobra" also happens to contain the first letters of the cities Copenhagen, Brussels ans Amsterdam, from where most of the movement's members came. The Cobra movement, which existed from November 1948 until November 1951, can with some justicication be called the last major avant-garde movement of the 20th century.The source of inspiration for the composition Cobra comes from four paintings: "Obhobning" by the Dane Egill Jacobsen; "La jeune fille et lamort" by the Belgian Pierre Alechinsky; "Orgeldraaier" and "Le rythme joyeux de la ville" by the Dutch artists Karel Appel and Corneille. Obhobning means "pile-up", which is represented musically in the first part by a melodic and harmonic pilling up of perfect fourth's. The first part is also characterized by a rhythmic feeling, which the painting gives through its use of numerous black stripes. In the painting La jeune fille et la mort, Pierre Alechinsky places a young girl opposite Death. The second part features the constantly pulsating motion of live while a creeping, dark, melodic line develops. The tension between life and death is tangible as a battle reveals itself. In part three, one hears the Orgeldraaier by Karel Appel, as cheerful and playful as an organ grinder's music. The painting Le rythme joyeux de la ville by Corneille is busy and extremely dynamic, a perfect source of inspiration for a powerful, rhythmic ending to this composition.
Estimated dispatch 7-14 working days
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£104.99Intermezzo - Satoshi Yagisawa
Intermezzo is the second movement of Satoshi Yagisawa's Clarinet Concerto. The concerto was first performed by Higashi-Hiroshima Wind Ensemble in Hiroshima, Japan in 2010 with guest performer Shinsuke Hashimoto, clarinettist with the Hiroshima Symphony Orchestra and was conducted by Atsushi Kageyama. Inspiration for this work came from the fact that both Satoshi Yagisawa and Shinsuke Hashimoto graduated from Musashino Academia Musicae.Clarinet Concerto>/I> is the pinnacle of Satoshi Yagisawa's "Concerto Series" which also features his Suite Concertante for Piano and WindOrchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino, andConcertino for Solo Percussion and Wind Orchestra.Yagisawa's characteristic heartfelt theme in the second movement is especially popular and consequently--entitled Intermezzo--it is often performed independently.Soloist: Grade 4
Estimated dispatch 7-14 working days
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£244.99Variations on a Pentatonic Theme - Rob Goorhuis
Rob Goorhuis wrote his Variations on a Pentatonic Theme (1987) for the Royal Wind band of Thorn, conductor Jan Cober. The work consists of five character variations on a pentatonic (five-tone) theme. The basic elements of the theme are the descending minor third and the descending major second, which in the course of the composition build up to a broad melody, unfolding itself in the final variation. The first variation resembles minimal music in its repetitive rhythmic motives. The second variation is explosive in character: rapid broken chords provide a background for soft solo motifs. The third variation is a quiet intermezzo on a slow chorale theme, creatingtwo contrasting moods. The fourth variation is a light-hearted scherzo. The final variation is a brilliant finale with all the necessary ingredients, or, in the composer's words, "the works" Testpiece WMC 2005 Concert Division.
Estimated dispatch 7-14 working days
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£286.40Poeme du Feu - Ida Gotkovsky
Major Albert Fasce, head of the musical department of the French Army, wrote about Pome du Feu:The Pome du Feu by Madame Ida Gotkovski is probably one of the original compostitions for symphonic band which has been most successful in recent years. I have had to conduct this work at concerts with different orchestras, and in particular at Budapest, and each performance was greeted by enthusiastic ovations. Moreover, it is quite rare in contemporary music to achieve, at the same time, the satisfaction of the musicians and success with the public. This is significant. This magnificent work is written remakably for wind instruments. There is no major technical difficulty, but the character of this work calls for meticulous placing and a certain orchestral glow. There is a "key" to be found in the first movement, which is in some way the rhythmic genesis of the work. The metronome marking of the first movement should be absolutely respected, and proper interpretation of the accents and the articulations are imperative. The fortissimi and rallentandi should not be exaggerated. As far as the little "trick" is concerned, this lies in the execution of the double crochets which should be considered in two ways: the first, a rhythmical one for those which arise from the rhythmic genesis, and the second more melodic for those arising in passages.Finally, to unseal the rhythmic origin of the double crochets, it is necessary to proceed by recurrence, starting from the four double crochets of the finale.These four double crochets must be executed very rhythmically in the different times. For the first, they arise:1: from the second bar of the first movement2: from the bar three bars before A for the second3: from the bar from G to the fourth time for the third.These double crochets must be played rhythmcally, while diminishing, however, those three bars before A.All this is of great importance, otherwise the whole execution will be in contradition with the spirit and the rhythmic inspiration of the work. Moreover, this beautiful work could very well support a ballet.As Head of Broadcast Music I must express all our gratitude to Madame Gotkovski for her contribution to constituting a real repertoire for wind ensemble. This articular and sometimes unappreceated band possesses unsuspected riches. This magnificent work is now in the repertoire of Musique de l'Air de France.
Estimated dispatch 7-14 working days
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£116.40Three Pictures for Band - Oliver Waespi
This composition consists of three sound pictures. When writing this work Oliver Waespi did not have any concrete image such as a scenery or a specific form in mind, but rather some typical visual movements. Hence the successive titles of the different parts: Procession, Dialogue and Waves. Numerous associations mutually link those parts as far as motifs and harmony are concerned. The motif of the ascending and descending fourth plays an important role in many a theme. There are many fourth chords by means of which Waespi tries to put a harmonic and unifying stamp on the compostition as a whole. Moreover there are similar or identical, though varied, motifs in the successive parts.The first part, Cortge (Procession), describes the dignified majestic procession by means of simple precise rhythms. At first the music is scarcely audible, as if coming from a distance; it gradually comes nearer until it reaches its climax in large chords, before fading away again. At each quarter note one could imagine a step. The second part, Dialogue, consists of broad outlines of dialogues between the different orchestral groups. Some instruments are asking questions, others are giving answers. After a rather sad passage, the music turns into a climax followed by a second passage that brings comfort and leads to a quiet ending. In the third part, there is a sudden movement coming up in the shape of waves. The principle of the wave, successively swelling and decreasing, dominates the entire musical structure of this part, even in the separate motifs.As far as the instrumentation is concerned there are the following notes: in the brass band version Oliver Waespi has a definite (orchestral) brass band strength in mind. If some parts (e.g. euphonium and flugelhorn) are played by several musicians, the conductor should feel free either to double or to thin those parts, providing the musical contents are not damaged. The same goes for the fanfare band in which the conductor can feel even more free as to the band's orchestral strenght. Anyway, a convincing overall sound is determining and that is to be realised by any kind of wind band.
Estimated dispatch 7-14 working days
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£242.80Pini di Roma - Ottorino Respighi
The suite Pines of Rome is the second orchestral work in Respghi's Roman trilogy. This suite was composed for symphony orchestra in 1923, depicts various places throughout Rome, where pine trees grow. That this piece is still a masterpiece when arranged for harmony band shows the quality of arranger, Ton van Grevenbroek. The 4 consecutive movements are titled I Pini di Villa Borghese, Pini presso una Catacomba, I Pini del Gianicolo and I Pini della Via Appia. The second and fourth movements can be ordered separately.Download the bird sounds for the third part of Pini di Roma:Bird sounds for part 3: I pini del Gianicolo (15 MB)
Estimated dispatch 7-14 working days
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£84.99Toccata - Claudio Monteverdi
Claudio Monteverdi composed this toccata as an instrumental introduction for the opera L'Orfeo (1607). According to the composer, this introduction should be played three times before the rising of the curtain. This is actually the first overture in the history of opera.)The story of Orfeo, who enchanted nature with his music, is tragic, as he loses his beloved Eurydice and decides to retrieve her from the underworld. On their return journey, one glance back at her is fatal: he loses her for the second time.)This arrangement for wind band is very suitable as a concert opener. The toccata is played three times just like the original. The first time it is played by a quintetconsisting of two trumpets and three trombones.)Various ways of performing this toccata are possible. The tension builds up more intensely if the quintet starts off stage. Eventually, these five players join the band, after which the tutti version follows two times. You can also have the brass play from the gallery during the second or third time for a double choir effect.
Estimated dispatch 7-14 working days
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