Results
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£58.50A Child Is Born (Concert Band - Score and Parts) - Del Borgo, Elliot
This energetic arrangement of the 15th-century English carol makes full use of the colours and sonorities of the concert band. The modal nature of the tune combined with contrapuntal textures, strong melodic lines and driving eighth-note rhythms will keep your entire band focused. An energetic holiday offering with plenty of sparkle and drive!Duration: 3.00
Estimated dispatch 7-14 working days
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£45.54Joyful Is The Morning Sun (Concert Band - Score and Parts)
This exuberant and uplifting chorale by Matt Conaway will make bands of all ages sound fantastic. The melodies are simple and memorable, and the full, rich scoring will help even bands with reduced instrumentation sound warm and complete. An excellent addition to your next concert or festival program.
Estimated dispatch 7-14 working days
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£274.99Symphony No. 2: States Of Mind, Opus 87 - Teo Aparicio-Barberán
I- Logos (reason)II- Pathos (emotion)III- Ethos (credibility)The ancient Greeks believed that music shaped the character of man. In Egyptian temples, music was an essential part of the magical rites to alter the course of nature or to treat illness.And today we know that sound can actually alter matter. The secret of music lies in harmony and mathematics, as many great musicians and experts have always known.One of the most important qualities of music is that it enables the listener to focushis attention inwards instead of on what is around him. It is indisputable that music can inspire emotion. Music leads us into a universe of emotions that are difficult to put into words. In short, music reaches into corners of our soul and thoughtsthat words cannot reach and makes it possible to more clearly describe these different States of mind.The composer of this symphony also believes that each "musical argument" must be constructed so that it will induce the desired reaction in thelistener.Music: more than wordsIn recent times, most orchestral symphonies have been based on a story, a text or something similar so that their composition must be structured accordingly.The intention of this work by Teo Aparicio-Barbern is quitedifferent. The composer describes the three elements of the argument as the only formal structure of the work. Since certain philosophers in world history were able to subdivide grammatical argument, why shouldnt that also be possible for the musicalargument?Since ancient times the power of the spoken word has captivated mankind. How can an argument move people and mobilise the masses? Where does the power of words come from today? The answer lays not so much in what people say but in how theysay it.Rhetoric is one of the oldest humanist disciplines in Western civilisation. Aristotle, in the 4th century BC, called it the art of persuasion. Indeed, the terms rhetoric and persuasion are mutually interchangeable.More than 2000 years agoAristotle structured his rhetoric according to the following three elements: the logos, the pathos and the ethos.Logos (words, reason) is the reasoning that gives freedom to the structure of the text by expressing what one wishes to say usingspecialist terms. With logos we create arguments to receive public approval and to defend our ideas.Pathos, the second element, refers to the effective use of public psychology. Pathos can be considered as the capacity to induce the desired emotionalresponse in the public, by creating an emotional connection with the public so that they accept our message.The third element, ethos (credibility), refers to the character of the speaker and is perhaps the most important of the three elements.Aristotle based his concept of ethos upon his belief that truth and justice will always have the upper hand over anger. He believed that what was true and good was easier to prove and was more persuasive.This second orchestral symphony from thecomposer from Enguera follows these three parameters of the argument according to Aristotle. Each movement tries to summon a different state of mind in the listener so that the message itself can be better understood and appreciated. Apart from thesethree general concepts the music is only structured, as Claude Debussy would say, in a "formative way".The first movement, logos, is based on a scherzo melody that undergoes various changes in rhythm and harmony. The arguments are presented by meansof conventional techniques of composition. The second movement, pathos, is characterised by suggestions of sound. It is subdivided into two large parts. The first part is based on a five seven sequence with five sounds that are repeated in differentenvironments, structures and dynamics. The second part, which is largely tonal, brings out more directly the emotional overtones that each argument must have. The third movement, ethos, is a faithful rendition of the composers personality. In thislast part, clear rhythmic sequences stand out, there are large dynamic contrasts and lots of tone variation. In addition, and this is quite in keeping with the composers earlier work, the harmony in States of Mind is handled in a manner that is bothoriginal and efficient, as a result of which Aparicio-Barberns message is well understood by the listener.This second symphony by Teo Aparicio-Barbern is devoted to "my dear Henrie Adams, a guiding light in this eternally dark musical world. Thankyou for everything."
Estimated dispatch 7-14 working days
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£164.95Euphonium Concerto (Concert Band - Score and Parts) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95
Euphonium Concerto (Concert Band - Score only) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£435.40Goldberg 2012 - Svein H. Giske
The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-
Estimated dispatch 7-14 working days
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£134.99
Recalls - Ben Haemhouts
Recalls obviously refers to memories. This piece of music is in fact a series of flashbacks, however, it does not highlight the actual memories of specific thoughts, people or events.The composition evolves around the late Frans Steurs, who for manyyears was the inspirational artist behind the brass band that is currently commissioning this work. The main theme of the work is based on the name STEURS". E = mi, U = do, R = re and S = "si" which is Dutch for the note "ti". This idea forms themusical theme for the entire composition and different variations are used throughout. The structure of the work is based on the concept of a story which father Steurs is telling his two daughters, who play the flute and the clarinet. Each part ofthe work has a story-like character:1. Introduction: following a short ominous intro, the main theme is presented for the first time.2. The Story: father Steurs has both his daughters on his knee and he tells them stories from the old days. Trumpetsand trombones play variations of the theme. The story gets very exciting (accelerande, poco a poco agitato) until the tale takes a dramatic turn when the father tells an exciting story at the time of the Second World War. He tells of being hunteddown by the occupying army and these adventurous episodes are related to us musically in part3. Danger, with its skilful references to "vor dem Sturm" from "Eine Alpensinfonie" by Richard Strauss.4. called Fugitives, is about how he fled in the nightfrom the enemy and this is reflected in the bass tones of a new theme. The aggression of the war is illustrated from bar 117 onwards, by a harsh brass section. The main theme is repeated once again and this time up-tempo. The second theme is broughtonce again from bar 149 onwards.5. Dialogues, depicts the conversations between the two daughters and their father. Father speaks (bar 155); the daughters answer (bar 164 - flute, bar 166 - clarinet); bar 178: father answers with the tune of the maintheme to the two daughters. The discussions gradually intensify but ultimately end in peace in the last part called Conclusion.The piece of music "Recalls" is a free interpretation by the composer who consulted the letters between the two daughtersof Steurs and their father and in this respect it is not really music for a programme."
Estimated dispatch 7-14 working days
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£264.99
Diferencias on an Old Spanish Song - Yasuhide Ito
I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.During this period, the growth of the internet has made it much easier to access information.When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.In recent years, the music of Luis de Narvez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.Narvez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.(English Translation:Nahoko Gotoh)
Estimated dispatch 7-14 working days
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£309.99Ninth Symphony (Concert Band - Score and Parts) - Barnes, James
Premiered on 21 September, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, "This is my last symphony...this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band." The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that "I have always wanted to write a waltz," and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto Flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an "otherworldly" mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color. Duration: 40.00
Estimated dispatch 7-14 working days
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£421.99The Book of Urizen (Movements I: The Vision and II: The Creation) (Soprano, Narrator and Concert Band - Score and Parts) - De Haan, Jacob
The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustrated himself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, a religious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can be played easily at the right moment.The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in "The Net of Religion," which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin in Jerusalem, the Holy City, where the afore-mentioned faiths come together.In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the "Eternals." His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, "the flames of eternal fury," and enwombs himself in his own world. When the Eternals see Urizen in his "stony sleep," they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen's world concrete form.In the second movement, The Creation, Urizen's world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen's body. He mourns and pities Urizen, and from his blood a female form comes into being, with the name Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the "fallen world." Orc is fed at Enitharmon's breast, which makes a girdle of jealousy restrict Los' chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles the face of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, the third movement of The Book of Urizen, is available in a separate set.
Estimated dispatch 7-14 working days
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