Results
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£109.99The Duke's Finest - Duke Ellington
Duke Ellington (1889- 1974) was a very successful American pianist, conductor, composer and arranger. His orchestra existed for decades and was able to survive thanks to the enormous hits that he and his collaborators wrote. Many of those songs now belong to the standard repertoire of jazz musicians.Billy Strayhorn (1915-1967) was arranger and composer with the orchestra from 1939, and also wrote Take the A-Train, which became the band's favourite song from 1941. Many recordings were made of it. Juan Tizol (1900-1984, valve trombone) played with Duke Ellington almost his entire career and composed Latin songs for the orchestra. He is co-composer of Caravan and Perdido.Just likein the original Duke Ellington concerts, the medley begins with Take the A-Train, followed by a number of classics from the repertoire of the legendary orchestra. In some songs there are soloists, notable a solo on kettledrums in C- Jam Blues. This solo can also be improvised.When rehearsing a lot of attention has to be paid to the drum and bass, which together form the rhythm section and drive the orchestra on. The other sections have to be tight and create a coherent swing effect. The swing shouldn't be too stiff, and can vary per song. For example in "In a Sentimental Mood", the melody can be played almost straight (classically), while the rhythm section continues swinging.
Estimated dispatch 7-14 working days
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£202.99Gloriosa - Symphonic Poem for Band Movement 1 - Yasuhide Ito
A new acquisition by Bravo Music, this fresh printing of the 1990 masterwork by Yasuhide Ito features a newly engraved score, improved parts, good availability and value. This stirring and powerful homage to early Christianity in Japan profoundly and eloquently states the case of cross-cultural conflict and resolution.I. OratioThe Gregorian chant "Gloriosa" begins with the words, "O gloriosa Domina excelsa super sidera que te creavit provide lactasti sacro ubere." The first movement Oratio opens with bells sounding the hymn's initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians.II. CantusIII. Dies FestusCommissioned in 1989 and premiered in 1990 by the Sasebo Band of the Maritime Self-Defense Force of Kyushu, southern Japan.Gloriosa is inspired by the songs of the Kakure-Kirishitan (Crypto-Christians) of Kyushu who continued to practice their faith surreptitiously after the ban of Christianity, which had been introduced to that southern region in the mid-16th century by Roman Catholic missionary Francisco Xavier. The worship brought with it a variety of western music.Though Christianity was proscribed in 1612 by authority of the Tokugawa Shogunate in Edo (today Tokyo), Kakure-Kirishitan continued advocating sermons and disguised songs. Melodies and lyrics such as Gregorian chant were obliged to be "Japanized". For example, the Latin word "Gloriosa" was changed to "Gururiyoza." This adaptation of liturgy for survival inspired Ito to write this piece in order to reveal and solve this unique cultural mystery.The composer explains:"Nagasaki district in Kyushu region continued to accept foreign culture even during the seclusion period, as Japan's only window to the outer world. After the proscription of Christianity, the faith was preserved and handed down in secret in the Nagasaki and Shimabara areas of Kyushu region. My interest was piqued by the way in which the Latin words of Gregorian chants were gradually `Japanized' during the 200 years of hidden practice of the Christian faith. That music forms the basis of Gloriosa."Gloriosa, fusing Gregorian chant and Japanese folk music, displays the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra.
Estimated dispatch 7-14 working days
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£209.99
Gloriosa - Symphonic Poem for Band Mvt 2 & 3 - Yasuhide Ito
A new acquisition by Bravo Music, this fresh printing of the 1990 masterwork by Yasuhide Ito features a newly engraved score, improved parts, good availability and value. This stirring and powerful homage to early Christianity in Japan profoundly and eloquently states the case of cross-cultural conflict and resolution.I. OratioThe Gregorian chant "Gloriosa" begins with the words, "O gloriosa Domina excelsa super sidera que te creavit provide lactasti sacro ubere." The first movement Oratio opens with bells sounding the hymn's initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians.II. CantusIII. Dies FestusCommissioned in 1989 and premiered in 1990 by the Sasebo Band of the Maritime Self-Defense Force of Kyushu, southern Japan.Gloriosa is inspired by the songs of the Kakure-Kirishitan (Crypto-Christians) of Kyushu who continued to practice their faith surreptitiously after the ban of Christianity, which had been introduced to that southern region in the mid-16th century by Roman Catholic missionary Francisco Xavier. The worship brought with it a variety of western music.Though Christianity was proscribed in 1612 by authority of the Tokugawa Shogunate in Edo (today Tokyo), Kakure-Kirishitan continued advocating sermons and disguised songs. Melodies and lyrics such as Gregorian chant were obliged to be "Japanized". For example, the Latin word "Gloriosa" was changed to "Gururiyoza." This adaptation of liturgy for survival inspired Ito to write this piece in order to reveal and solve this unique cultural mystery.The composer explains:"Nagasaki district in Kyushu region continued to accept foreign culture even during the seclusion period, as Japan's only window to the outer world. After the proscription of Christianity, the faith was preserved and handed down in secret in the Nagasaki and Shimabara areas of Kyushu region. My interest was piqued by the way in which the Latin words of Gregorian chants were gradually `Japanized' during the 200 years of hidden practice of the Christian faith. That music forms the basis of Gloriosa."Gloriosa, fusing Gregorian chant and Japanese folk music, displays the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra.
Estimated dispatch 7-14 working days
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£144.99Suite Marchigiana - Luciano Feliciani
According to a famous statement by Herder, folk songs represent the archives of a nation's knowledge, the expression of its heart and theimage that reflects its history and identity. Suite Marchigiana is a three movement piece, inspired by folk songs from the Marche in central Italy, a region with a very ancient and rich folkloristic heritage. The first movement elaborates on the well-known Pasquella. The Pasquella comes from a traditional winter begging ritual where a group of musicians go from house to house singing verses, wishing their audience good health, wealth and abundance, in return for small amounts of money, food and wine. The second movementis an Andante Triste inspired by an old song called Sona la mezzanotte (The Clock Strikes Midnight), a melancholic song that reminds us of unhappy love stories, bereavement, and so on. Luciano Feliciani concludes the suite with the Saltarello Marchigiano, which is bright and sparkling, and therefore in complete contrast with the previous movement. Although unproven, the Saltarello is thought to have its origins in the 'saltatio' (a latin dance). While the choreae were group dances, circular in structure and with a rhythmic progression, the saltationes were more lively in character. The fast, frenetic and joyous saltarello was without any doubt the most famous musical expression of rural central Italy in the nineteenth century.
Estimated dispatch 7-14 working days
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£349.99Gloriosa - Symphonic Poem for Band (Complete) - Yasuhide Ito
A new acquisition by Bravo Music, this fresh printing of the 1990 masterwork by Yasuhide Ito features a newly engraved score, improved parts, good availability and value. This stirring and powerful homage to early Christianity in Japan profoundly and eloquently states the case of cross-cultural conflict and resolution.I. OratioThe Gregorian chant "Gloriosa" begins with the words, "O gloriosa Domina excelsa super sidera que te creavit provide lactasti sacro ubere." The first movement Oratio opens with bells sounding the hymn's initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians.II. CantusIII. Dies FestusCommissioned in 1989 and premiered in 1990 by the Sasebo Band of the Maritime Self-Defense Force of Kyushu, southern Japan.Gloriosa is inspired by the songs of the Kakure-Kirishitan (Crypto-Christians) of Kyushu who continued to practice their faith surreptitiously after the ban of Christianity, which had been introduced to that southern region in the mid-16th century by Roman Catholic missionary Francisco Xavier. The worship brought with it a variety of western music.Though Christianity was proscribed in 1612 by authority of the Tokugawa Shogunate in Edo (today Tokyo), Kakure-Kirishitan continued advocating sermons and disguised songs. Melodies and lyrics such as Gregorian chant were obliged to be "Japanized". For example, the Latin word "Gloriosa" was changed to "Gururiyoza." This adaptation of liturgy for survival inspired Ito to write this piece in order to reveal and solve this unique cultural mystery.The composer explains:"Nagasaki district in Kyushu region continued to accept foreign culture even during the seclusion period, as Japan's only window to the outer world. After the proscription of Christianity, the faith was preserved and handed down in secret in the Nagasaki and Shimabara areas of Kyushu region. My interest was piqued by the way in which the Latin words of Gregorian chants were gradually `Japanized' during the 200 years of hidden practice of the Christian faith. That music forms the basis of Gloriosa."Gloriosa, fusing Gregorian chant and Japanese folk music, displays the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra.
Estimated dispatch 7-14 working days
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£104.99Rolling Stones Fantasy - Mick Jagger
Millions of fans will be delighted to hear that, after 40 years of collaboration and countless international tours, The Rolling Stones still have no intention of ending their career. The band's songs have united fans everywhere, be they new fans, old fans, young or old. Their most popular songs are the ones they wrote during the 60's and early 70's and it is from this unforgettable era that Peter Kleine Schaars has picked their greatest hits to form this mind-blowing medley.
Estimated dispatch 7-14 working days
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£154.60Rendezvous - Torstein Aagaard-Nilsen
Rendezvous was commissioned by Krohnengen Brass Band for their 50th Anniversary in 2019. This version for Concert Band was scored autumn 2020.Rendezvous is devided into three sections. Each section are referring to Edvard Grieg's own titles. but twisted, to make sure that everybody understand that this music is a mash-up of themes Edvard Grieg used in opus 54 (for piano) and opus 61 (songs for children).1. Trolltog med avsporing (March of the Trolls derailment)March of the Trolls is a famous part of Edvard Grieg lyric pieces, opus 54.2. Klokkeklang i feil sang (Bell ringing in wrong tune).Bell ringing show that Grieg was one of the first composers to write the way impressionists did. What happens if this beatiful piece is combined with several other themes from the same book? It somehow works in its own way.3. Pep talk til Blakken (Pep talk to Blakken)The riff used in the first part becomes an important part of the third part: a funky treat of the childrens song "Kveldssang for Blakken" (Evening song for Blakken).I felt that a rather tired old horse needed a pep talk more than a slow tune. So that is why you get this music(!) - and this is how my rendezvous with Grieg ends.Not sure what maestro Grieg would have thougt... But, I have read that the fiddlers that played the tunes Grieg used was not happy with the way Grieg used them.So there you go...Torstein Aagaard-Nilsen
Estimated dispatch 7-14 working days
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£84.95Fire in the Blood (Concert Band - Score and Parts) - Lovatt-Cooper, Paul
Fire in the Blood was commissioned by Dr Stephen Cobb for the 120th anniversary of the International Staff Band of the Salvation Army. The piece was composed for the celebration concert where the ISB were joined by several other staff bands from around the world to perform independently to a sell-out capacity crowd at Britain's most famous concert hall The Royal Albert Hall. Fire in the Blood received its world premier at the 'ISB 120' concert at the Royal Albert Hall on June 4th 2011.With this piece I wanted to acknowledge music that had an impact on me through my Salvation Army upbringing. When thinking of a title for this piece I had no hesitation than to reflect and re-word the Salvation Army's motto under their famous crest 'Blood and Fire'.When composing Fire in the Blood I wanted to use three songs of worship that have been prevalent in the Salvation Army's services over a number of years. Opening with Richard Phillips' setting of Psalm 95, 'Sing for Joy', the music is vibrant and full of energy, I wanted to capture the spirit of the well known words of Scripture. The music then moves into a more reflective section that includes Howard Davies' emotive song melody 'Lord, you know that we love you' and Laurie Klein's worship song 'I love you Lord'.A re-statement of the opening Psalm setting follows and this, in turn, leads into a dramatic and powerful finale that combines two pivotal statements drawn from the slower, reflective section: I love you lord, and I lift my voice to worship you, O my soul rejoice and Lord, you know that we love you with a final flourish from Psalm 95: Come let us sing joy to the Lord!- Paul Lovatt-CooperDuration: 10:00
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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£75.00In Dulci Jubilo (Concert Band with Optional Choir - Score and Parts) - Noble & Rutter
One night in 1328, the German mystic and Dominican monk Henrich Suso (or Seuse) had a vision in which he joined angels dancing as the angels sang to him Nun singet und seid froh or In Dulci Jubilo. In Suso's biography (or perhaps autobiography), it was written: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: 'In dulci jubilo', etc. In Dulci Jubilo is among the oldest and most famous of the macaronic songs, one which combines Latin and a vernacular language such as English or German. Five hundred years later, this carol became the inspiration for the 1853 English paraphrase by John Mason Neale, Good Christian Men, Rejoice. Perhaps the earliest English version appeared c.1540. That popularity has endured for nearly 700 years. It's the rare contemporary collection of Christmas carols that doesn't contain a carol based on this ancient jewel.
Estimated dispatch 7-14 working days
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