Results
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£95.995 Tantum Ergo (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.Duration: 11.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the modernity of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 39.00
Estimated dispatch 7-14 working days
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£73.00S.O.S. (Concert Band - Score and Parts) - Kjaernes, Bjorn Morten
When the publisher asked me to make an arrangement of an ABBA tune, S.O.S. was the first song I thought of. Its introduction and melody are well suited to play for Wind Band. Admittedly, the key had to be shifted to make it sound good for this instrumentation. To me, this is nostalgia, while for others, the Mamma Mia movie/show will be what they associate with this wonderful song. Apart from a few medleys, few of ABBA's songs are available to Wind Band. So, it was very fun to work on this classic.The arrangement is made quite simply to fit many sizes of bands. Technically, it is also relatively simple both in range and rhythm. As you can see, there are many ways to adjust this arrangement to your own ensemble. Bring out melody lines and the bassline, and a lot is done. If needed, simplify to make it sound nice.Get creative and have fun!- Bjorn Morten KjaernesDuration: 3.30
Estimated dispatch 7-14 working days
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£59.80Maisha ni Zawadi (Flexible Ensemble - Score and Parts) - Utbult, Jan
An original piece based on the African musical tradition. Maisha ni Zawadi is Swahili and means life is a gift. The arrangement of the chorus is based on how an East African choir would have performed the song. The song is based a lot on the percussion groove, and is particularly suitable for bands and ensembles that want to show off the percussion section. Here it is possible to let many people play African rhythms on various percussion instruments.Duration: 2.00
Estimated dispatch 7-14 working days
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£159.99In Nomine (Concert Band - Score and Parts) - Schwarz, Otto M.
How often has something been justified by, declared to be, or blessed as 'in the name of' some cause or other? How can it be that opposing armies and the use of weapons are ever 'in the name of...'? This is a common thread in the history of different faiths. Good was created but evil was committed and all 'in the name of...' This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium ('the desert will bloom like a lily'); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' leftovers on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music, which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it, that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life, the Premonstratensian abbey, is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.Duration: 11.15
Estimated dispatch 7-14 working days
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£104.99Hebrew Dance (Concert Band - Score and Parts) - Appermont, Bert
This composition is based on the traditional Hebrew song Shalom Aleichem, that has been incorporated in a mix of klezmer, Balkan music and Latin-American music. As the title suggests, the work contains various show elements, such as spectacular solos, hand clapping and stirring percussion. Duration: 4.15
Estimated dispatch 7-14 working days
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£84.99Don't Start Now (Concert Band - Score and Parts) - Stanford, Tom
Don't Start Now, by the British singer Dua Lipa, is the first single from her second studio album, Future Nostalgia. The accompanying music video was uploaded to her YouTube channel upon the single's release. In the song, the singer tells her ex-lover that she is now over him. She gave her first live performance of it on The Graham Norton Show, after that she sang it a number of times at various award shows, TV programmes and music festivals. This arrangement by Tom Stanford will make sure that this disco pop song will also find its way into the world of wind music. Duration: 3.00
Estimated dispatch 7-14 working days
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£59.00The Cauldron (Concert Band - Score and Parts) - Huckeby, Ed
Filled with classic Ed Huckeby flair, "The Cauldron" is an outstanding selection for contest or festival! With dramatic syncopations and changing meter leading the way, the musical elements blended into "The Cauldron" are unique and tremendously appealing. Along with energy-charged rhythmic elements throughout, the beautiful melodic content in the middle section provides a wonderful opportunity for your ensemble to show off its lyrical maturity. Highly recommended! Duration: 4.15
Estimated dispatch 7-14 working days
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£49.00Half Off! (Concert Band - Score and Parts) - Webb, Amy
Teaching students the concept of cut time in music can be difficult and daunting, but not so with "Half Off!," an engaging, light-hearted learning tool. Using only notes and rests that are easily divisible by two, combined with a catchy tune, this song will quickly show kids that cut-time is nothing to be feared, and actually a lot of fun to play. Onward and upward with "Half Off!" Duration: 1.30
Estimated dispatch 7-14 working days
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£49.00March of the Woodpeckers (Concert Band - Score and Parts) - Huckeby, Ed
March Of The Woodpeckers is a spectacular light and fun-filled way to show off your emerging percussion stars! Although the march is very accessible and fun to play, it also has wonderful melodic lines, countermelodies, and harmonies. Your students and audiences will love this! Duration: 1.40
Estimated dispatch 7-14 working days
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