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£69.95Aylesbury Dances (Concert Band - Score and Parts) - Wiffin, Rob
The suite Aylesbury Dances was commissioned by the Aylesbury Concert Band to mark the occasion of their 25th Anniversary in 2019. Its three movements depict different aspects of Aylesbury: I. Pavane: The Town - Having read something of the town's history and its architecture I decided I wanted to write something ceremonial with the feel of music from Tudor times. Aylesbury was given its charter and borough status in 1554 by Mary Tudor so I took that as my starting point but then added some harmony that moves forward in time. This fits with the town's motto: Semper Prorsum (Always forward) and also with the Band's evolution from Aylesbury Town Band to Aylesbury Community Concert Band to Aylesbury Concert Band. The music can be defined as a pavane, or a cortege. The sense of procession is slightly disturbed by a 'Blue Leanie' moment. The Blue Leanie is an iconic Aylesbury building, an oblique rhombic prism which stands at an angle of 17% inclination. I took a quaver out of the time signature (I know the maths don't work!) to reflect this and added some bluer harmony at that point. This opening movement gives a sense of the grandeur and heritage of Aylesbury town and a chance for my friends from the brass section to warm up! II. Siciliana: Waterside - To balance the outer two movements, the middle movement of the suite has a slow lilting 6/8 rhythm. It is in the style of a Siciliana, a dance form originating in the baroque era. It is a graceful, tender and melancholic dance, cast here in a minor key and featuring the dark voice of the cor anglais. The Siciliana was often linked with pastoral scenes and Aylesbury itself sits amid some beautiful countryside. It may, therefore, seem a bit of a stretch to call this movement 'Waterside', especially as Aylesbury is so far from the sea, but the town has a theatre of that name and that was the genesis for this particular music. There is a statue of Ronnie Barker in the grounds of the Waterside theatre as he started his career in repertory theatre in Aylesbury, so I included a fleeting reference to the theme music of the comedy programme 'Open all Hours'. III. Frolic: Ducks in a Row - It was impossible to write a piece connected with Aylesbury without considering the famous Aylesbury ducks. Duck rearing was a major industry in the town in the 19th century. The white Aylesbury Duck is a symbol of the town, appearing on its coat of arms and in the logo of the Aylesbury Concert Band! This movement is all about trying to get the little darlings in a row so they can sing their 'Duck Chorus' together but they keep on scattering, flying off or swimming away as quickly as they can manage. It's a bit like watching ducks disperse when my dog jumps into the stream after them. Eventually we get more of them in a row - even though they protest. Hidden amongst the ducks is a reference to Erica Miller, saxophonist and chairman of the band, and there's even a veiled reference to a shark in the hope of getting them out of the water. Ducks in a Row is a fun romp bringing this suite of Aylesbury Dances to a suitably celebratory conclusion.- Rob Wiffin.Duration: 9.15
Estimated dispatch 7-14 working days
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£79.99Sir Roger de Coverley (Concert Band - Score and Parts) - Bridge, Frank - Wheeler, Alastair
Frank Bridge (1879 - 1941) was one of the leading English composers of his time. In October 1922 he adapted his popular string quartet Sir Roger de Coverley for full symphony orchestra and Sir Henry Wood agreed, at the last minute, to include it in the last night of the Queen's Hall Promenade Concerts at the end of that month. This elaborate and colourful orchestral version has never been widely performed, but has now been brilliantly transcribed by Alastair Wheeler to provide a miniature dance poem for grade 5 level concert band. Bridge's lively treatment of one of England's most famous traditional dance melodies will make a fitting end to any concert, with the strains of Auld Lang Syne introduced by Bridge as a nod towards Sir Roger de Coverley's traditional function as the final dance of a Christmas Ball, as it was in Old Mr. Fezziwig's party in Dickens' A Christmas Carol.
Estimated dispatch 7-14 working days
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£140.00GALLIMAUFRY (Concert Band) - Woolfenden, Guy
Gallimaufry (gali maw'fri): A medley; any confused jumble of things; but strictly speaking, a hotch potch made up of all the scraps of the larder. cf Shakespeare: The Winter's Tale: "a gallimaufry of gambols"I. Church and StateII. Inn and OutIII. Starts and FitsIV. Father and SonV. Advance and RetreatVI. Church and Status QuoGallimaufry was inspired by Shakespeare's Henry IV plays, and derives from music I composed for the Royal Shakespeare Company's production which opened the Barbican Theatre in 1982. The score is dedicated to Trevor Nunn, then Artistic Director of the RSC, with grateful thanks for his suggestion that I should expand and mould the music from these productions into a form suitable for concert performance.My thanks also to Timothy Reynish and the British Association of Symphonic Bands and Wind Ensembles who, with funds provided by North West Arts, commissioned the work and helped to ensure its first performance on September 24th 1983 with the Royal Northern College of Music Wind Orchestra.The work is continuous and the thematic material of each of the six sections closely related. The "establishment" - leadership, temporal and ecclesiastical power - are depicted in the stately march which opens the work. (Church and State)The second section, Inn and Out, in an energetic hemiola rhythm, is concerned with the stews and low-life revels at the Boar's Head Tavern. This is interrupted and finally integrated with the Tavern Brawl and Gadshill Ambush of Starts and Fits.The mood changes and the ambivalence of Prince Hal's relationship with his father and surrogate father, Falstaff, is portrayed in a serene cor anglais solo. (Father and Son)Advance and Retreat is a recruiting march, derived from the Tavern Tune and leads into the last movement, Church and Status Quo, which deals with the rejection of Falstaff and the crowning of Price Hal. Order is restored with a majestic affirmation of the opening material.
Estimated dispatch 7-14 working days
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£65.00Popov's Parade - Duncan Stubbs
Combining references to 20th-century Russian music with slapstick humour, 'Popov's Parade' is a humble tribute to a great international artist, Oleg Popov, one of the world's best-known clowns. The quote from Schubert's March Militaire parodies Stravinsky's use of this same fragment in his own Circus Polka. Suitable for intermediate level (Grade 3/4) Symphonic Wind Band.
Estimated dispatch 7-14 working days
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£50.00Santa Stomp! (Concert Band -Score and Parts) - Grice, Rob
Get ready to clap your hands and stomp your feet! Santa Stomp is a fun novelty selection that is perfect for your young band's first Christmas concert. Rob Grice's very accessible work makes it easy for young bands to sound great by Christmas. With the stomp and clap effects, it's sure to leave a smile on everyone's faces. Don't miss out on this one! Duration: 2.15
Estimated dispatch 7-14 working days
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£59.99Popov's Parade (Concert Band - Score and Parts) - Stubbs, Duncan
Combining references to 20th-century Russian music with slapstick humour, Popov's Parade is a humble tribute to a great international artist, Oleg Popov, one of the world's best-known clowns. The quote from Schubert's March Militaire parodies Stravinsky's use of this same fragment in his own Circus Polka.
Estimated dispatch 7-14 working days
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£37.51Elizabeth Remembered (Wind Band) Debbie Wiseman arr. Andrew Wainwright
Released as a charity single in aid of The Queen's Commonwealth Trust, this sublime work was composed by Debbie Wiseman OBE and performed by the BBC Concert Orchestra in tribute to Queen Elizabeth II after her death in September 2022. This tender and contemplative piece was played many times during the BBC's live coverage of the ceremonies across ten days of national mourning; and the full three-minute piece was played at the end of the Queen's State funeral, following Kirsty Young's emotional final words, and accompanied by a poignant and beautiful montage of images from the events of the day. The piece is now available for wind bands through this arrangement by Andrew Wainwright, with permission kindly granted by Debbie Wiseman. To view a follow-the-score video please visit: www.youtube.com/watch?v=gW6AiNQGKEI Sheet music available from : UK: www.wind-band-music.co.uk USA: www.solidbrassmusic.com Difficulty Level: Medium Easy Instrumentation: Flute Oboe 1 Oboe 2 (Cor Anglais) Clarinet in Bb 1-2 Bassoon 1-2 Alto Saxophone Eb Tenor Saxophone Bb Baritone Saxophone Eb Trumpet in Bb Horn in F Trombone Euphonium Tuba Timpani Harp (optional) Glockenspiel (if no Harp) Suspended Cymbal
In stock: Estimated dispatch 1-3 days
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£63.77Caprice (Euphonium Solo with Concert Band) Andrew Batterham
VIEW SCORE PDF Caprice was written for Matthew van Emmerik, to showcase his virtuosity in an engaging piece of concert music. The work is in theme and variation form, with the primary material being the theme from the last of Paganini's Ventiquattro Capricci per violino solo, a collection of 24 caprices for solo violin. This theme has been the inspiration for similar works by many composers since it was first published, including Liszt, Brahms, Rachmaninov, Benny Goodman and Andrew Lloyd Webber. In this work, the famous theme is treated to a more contemporary approach. The first variation, Capricious, relies on motor rhythms and jagged dialogues between the soloist and the band. It is couched in an organic scale reminiscent of the Phrygian mode. The second variation, Sad, is in direct contrast, acting as a traditional ballad and allowing the soloist to explore the expressive side of the instrument. The third variation, Energetic, is a micro set of variations in itself, designed to display the soloist's innovative technique and stamina. Each section is more challenging than the last, until the work concludes with a whirlwind dance at breakneck speed. Like all of Batterham's recent work, the musical language of Caprice draws upon classical, jazz, funk and ska elements to create a unique sound where anything can happen, and probably will. This arrangement was made possible through Matt's instigation and generosity. To view a video of Matthew van Emmerik performing the version with brass band please visit www.youtube.com/watch?v=D0hsvux_a5o To view a video of Fletcher Mitchell performing the version with piano please visit www.youtube.com/watch?v=NOZ6KRldDVo Sheet music available from : UK: www.wind-band-music.co.uk USA: www.solidbrassmusic.com Instrumentation: Euphonium Soloist Piccolo Flute 1-2 Oboe Bassoon Clarinet in Eb Clarinet in Bb 1-3 Bass Clarinet in Bb Alto Saxophone 1-2 Tenor Saxophone Baritone Saxophone Trumpet in Bb 1-3 Horn in F 1-4 Trombone 1-2 Bass Trombone Euphonium Tuba String Bass Percussion 1-3
In stock: Estimated dispatch 1-3 days
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£59.80Alte Kameraden - Carl Teike
It is the greatest tragedy in the life of a young composer if he happens to write his most successful piece at the beginning of his musical career. This holds true for Carl Teike, as the unsurpassed success at the beginning of his musical life was his march "Old Comrades". It is a sparkling piece that may well be labeled to be the German "march of marches". Carl Teike was born on Feb. 05, 1864 in Altdamm. After his parents had moved to Stettin, he had early contacts with military music as a youngster. The enthusiasm for this kind of music never left him throughout his life. He began a musical apprenticeship with City Music Director Bttcher in Wollin and already played in the spa orchestra of Bad Misdroy, which Bttcher conducted. Upon completing his apprenticeship, he enlisted as a volunteer in the band of the (5th Wrttemberg) King Karl Grenadiers No. 123 in Ulm. The musical and military environment there proved to be ideal for the ambitious young musician, who hoped to eventually study band music at the University of Music in Berlin. Above all, his military superior, bandmaster Julius Schreck supported young Teike wherever he could. Unfortunately the time in Ulm took a very unhappy turn, as Schreck's successor was extremely resentful towards Teike, and musical support was replaced by sheer harassment. On account of this, Teike retired from the military towards the end of 1889. Short employments in Ravensburg and Ulm evidently did not suit Teike, who was of northern German descent. This is why he applied for the Royal Police Force in Potsdam. Teike was accepted and entered service in 1895. The royal capital of the Hohenzollerns obviously stirred Teike to write a number of brilliant marches. He even became known abroad as the "musical policeman". Unfortunately he contracted a severe pneumonia while on duty, which eventually forced him to retire from the Royal Police Force in Potsdam. On February 01, 1909 he and his family moved to the prosperous provincial city of Landsberg on the Warthe (which is located east of Berlin in present-day Poland). There, Count Clairon d'Haussonville proved to be an understanding superior who paved the way for modest Carl Teike to continue composing, as his creativity had not suffered from this move. The disease which he had caught in Potsdam evidently was more severe than he was inclined to accept. In spring 1922, his state of health became worse, and in May of that year he passed away. Much too early - as many people felt. Teike's marches constitute an enrichment of the German concert march, as he never composed any street marches. Clear structures, musical ingenuity and a multitude of tone colors distinguish his works and shape them into something really new. It is this type of the march in particular that became the bedrock of the universal appeal of the German march. Even today Teike's marches stand unrivaled for musical quality and content - and they never are aggressive. Toward the end of his tour of duty in Ulm, Teike handed a new march to his superior, which, at the time, did not have a title yet. He in turn told Teike to "put it in a stove and burn it". As we know today, this was a classic misappraisal, as Teike subsequently named his march "Old Comrades" in view of his impending retirement. We do not even need to discuss the acceptance the march has met and still meets all over the world, as "Old Comrades" simply always has been a march of universal appeal. In his new arrangement, Siegfried Rundel did not change the essence of Teike's music, he rather sensitively adapted it to modern musical practice and to the instrumentation of the symphonic band on the basis of his deep respect for the works of Carl Teike.
Estimated dispatch 7-14 working days
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£35.50Triglav - Julius Fucik
Julius Fuc k (1872-1916) appreciated life in Sarajevo. First compositions were written, which soon made him become one of the leading representatives of his profession in Austria-Hungary. Among those works also figured his elaborate piece "Austria's Glory and Honor", which unfortunately remains kind of ill-fated up to now. Yet another area of activities, where Fu k was able to demonstrate his talents was to stage the symphony concerts introduced by him in Sarajevo. Late in fall of the year 1900 Fuc k's time had come, when the regiment deployed from Sarajevo to Budapest. He lived in that metropolis on the Danube for the next some ten years, and during that period most of hisworks were composed. At that time his popularity also grew from day to day. The first performances of his works met with general interest, and not only numerous officers most of them were friends of Fuc k attended these events, they rather were attractions for all ranks of the society. It should also not be overlooked that music publishers were anxious to secure almost each one of his works for their publishing company, and most of them were printed immediately after their premieres. In 1899 the "Laban March" was written as his Opus 44. It was dedicated to Major General Rudolf Laban of Vralje, commander of the 3d Mountain Brigade which was stationed in Nevesinje. The title of the march then changed to "Eiserne Brigade" ("Iron Brigade") until it finally became known as "Danubia". It was first printed as late as 1933 by Bohuslav Leopold (Edition Continental). Leopold was a musician in Fuc k's regimental band, and later a successful publisher. He succeeded in securing the best of Fuc k's works for his company. Sketches of "Triglav" date back to 1903. The title alludes to the highest mountain of the province of Slovenia, and this was probably an apt means in the eyes of the composer to demonstrate his "Slavonic patriotism".
Estimated dispatch 7-14 working days
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