Results
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£164.95Elgar Variations (Concert Band - Score and Parts) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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£32.95Elgar Variations (Concert Band - Score only) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
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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£169.99Olympica (Concert Band - Score and Parts) - Van der Roost, Jan
This "Grand Overture" was commissioned by the "Nagano Community Band" - Japan- on occasion of its jubilee in 1992 and is dedicated to the band's conductor, Ikuo Inagaki. The work is based upon three main themes, each symbolising a certain theme. The first part is characterized by its bright themes played mainly by the brass, accompanied by the woodwinds and festive percussion. This part symbolizes the jubilee which is the origin of the composition. This is followed by a bouncing allegro, in which each register of the band displays brilliant techniques. Especially the woodwinds come to the fore! This movement depicts the industriousness and enthusiasm shown by the members of the "Nagano Community Band" in the carrying out of their hobby. A third, main theme, is choral-like in character and is displayed both in the (soft) brass as well as in the warm medium register of the reeds. Here, nature's beauty in and around the city of Nagano is musically celebrated. Following a "chamber-music episode" (featuring the flute, oboe, clarinet, alto-saxophone and horn) the initial allegro re-occurs, weaving its way towards a grandiose finale, in which the two previous themes are once again apparent. Due to its very colourful scoring and the enormous diversity of musical thoughts and ideas, this composition is a fascinating and memorable piece, worthy a jubilee overture!Duration: 10:15
Estimated dispatch 7-14 working days
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£64.95PURCELL VARIANTS (Advanced Concert Band) - Meechan, Peter
Purcell Variants is based on Purcell's Queen Mary's Funeral Music, which consists of four canzonas, two elegies and an anthem. The first movement begins by sounding some of Purcell's original music in the trombones and horns, underpinned by a timpani roll with the woodwind articulating the beginnings and endings of the phrases. This leads into a cadenza for trumpet and alto saxophone before the movement heads in different directions, leading us to its mysterious end, where the original music is sounded this time in the 'stabs' of the clarinets and alto saxophone. Originally composed for the funeral of Queen Mary in 1695, Purcell's original funeral music was used later that same year for Purcell's own funeral - he died aged only 34. The second movement is an elegy, inspired by this story. After an introduction (a disjointed last post), the main melody of the movement is introduced by the solo euphonium, with other solo roles for flute, oboe and alto saxophone. This is then taken over by the trumpets who lead us into the middle section of the movement. This is a quasi funeral march, inspired by the image of Purcell's coffin being taken to its final resting point. The main melody returns in the flute, oboe and alto saxophone, this time more elaborated. The movement ends with a snare drum fading away - perhaps a metaphor. The Finale is a fast and furious movement combining thematic material from the two previous movements with new rhythmical ideas. This takes us through to the final passage - the triumphant return of Purcell's original theme. Duration: 13.00
Estimated dispatch 7-14 working days
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£164.95Roman Trilogy (Prestige Concert Band - Score and Parts) - Ellerby, Martin
This work falls into three movements, all concerned with the subject of the Italian capital city of Rome, rather like previous tributes to other European citites in Paris Sketches, Venetian Spells and The Cries of London. The emphasis is on atmosphere and drama, be they respectful or joyful! It is acknowledged that Ottorino Respighi has influenced this work though his own eternal Rome tributes are not challenged here, rather saluted and celebrated.The three movements are: 1. Collosea di Romaan evergrowing march mood, builds in intensity and density as we approach the mighty Colosseum, the amphitehatre of Classical Rome, where deadly spectacles were once played out. We should not forget that countless thousands died here whilst even more laughed in the name of entertainment: their memory is reflected in the coda. In its unique way this icon of Rome is one of the most tragic historical places.2. Capella Sistinathe Sistine Chapel of the Vatican City is observed in a series of chorales and interludes. The visitor can look 360o around and be presented with a series of Biblical representations and commentaries. The music attempts to reflect these contrasting panels whilst ultimately bowing to the glory of this magnificent artistic creation. The coda is enigmatic, inconclusive - a single viewing cannot reveal all the mysteries and beauties within. 3. Fonatani di Trevitime for laughter and fun! The Trevi Fountain is one of Rome's finest and visually overboard locations! This is indicated as a Burletta: 'a la dolce vita' which means 'the sweet life'. This burletta (meaning 'little joke') makes use of tarantella and saltarello rhythms and features a pair of tambourines which are associated with these forms. La Dolce Vita was also a film by the renowned Italian director Federico Fellini featuring a memorable scene in the Trevi with a wet Enita Ekberg: something modern day visitors are discouraged from emulating!Duration: 11:15Recorded on Polyphonic QPRM161D ROMAN TRILOGY (TheRoyal Northern College of Music Wind Orchestra).
Estimated dispatch 7-14 working days
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£37.95
Roman Trilogy (Prestige Concert Band - Score only) - Ellerby, Martin
This work falls into three movements, all concerned with the subject of the Italian capital city of Rome, rather like previous tributes to other European citites in Paris Sketches, Venetian Spells and The Cries of London. The emphasis is on atmosphere and drama, be they respectful or joyful! It is acknowledged that Ottorino Respighi has influenced this work though his own eternal Rome tributes are not challenged here, rather saluted and celebrated.The three movements are: 1. Collosea di Romaan evergrowing march mood, builds in intensity and density as we approach the mighty Colosseum, the amphitehatre of Classical Rome, where deadly spectacles were once played out. We should not forget that countless thousands died here whilst even more laughed in the name of entertainment: their memory is reflected in the coda. In its unique way this icon of Rome is one of the most tragic historical places.2. Capella Sistinathe Sistine Chapel of the Vatican City is observed in a series of chorales and interludes. The visitor can look 360o around and be presented with a series of Biblical representations and commentaries. The music attempts to reflect these contrasting panels whilst ultimately bowing to the glory of this magnificent artistic creation. The coda is enigmatic, inconclusive - a single viewing cannot reveal all the mysteries and beauties within. 3. Fonatani di Trevitime for laughter and fun! The Trevi Fountain is one of Rome's finest and visually overboard locations! This is indicated as a Burletta: 'a la dolce vita' which means 'the sweet life'. This burletta (meaning 'little joke') makes use of tarantella and saltarello rhythms and features a pair of tambourines which are associated with these forms. La Dolce Vita was also a film by the renowned Italian director Federico Fellini featuring a memorable scene in the Trevi with a wet Enita Ekberg: something modern day visitors are discouraged from emulating!Duration: 11:15Recorded on Polyphonic QPRM161D ROMAN TRILOGY (TheRoyal Northern College of Music Wind Orchestra)
Estimated dispatch 7-14 working days
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£144.99
Ross Roy (Concert Band - Score and Parts) - De Haan, Jacob
Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.Duration: 9:20
Estimated dispatch 7-14 working days
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£55.74Suite - A Renaissance Christmas (Wind Band) Kevin Norbury
VIEW SCORE PDF This magnificent festive suite was written by Kevin Norbury for the Pierre Elliott Trudeau High School Wind Symphony and features three well known carols set in a Renaissance style. Three contrasting movements comprise the work: i. Processional (Personent hodie - On this day earth shall ring) This is a short piece imagining a torchlight Yuletide procession (perhaps bearing the traditional roasted wild boar), using a well-known Christmas melody from the large collection of music compiled in the 16th century called Piae Cantiones (1582). The tune is presented twice with accompanying, related melodic material. ii. Pastorale (Quem pastores laudavere - Shepherds sang their praises o'er him) This is a 14th-century melody which was originally collected by Michael Praetorius at the end of the 16th-century. The treatment throughout is very lyrical without overly complex harmonies. The melody is heard three times with brief linking episodes and a short coda. iii. Celebration! (In dulci jubilo - In sweet celebration - Ding-dong merrily on high) This magnificent 13th-century melody was also a part of Michael Praetorius's collection. It is traditionally associated with the words 'Good Christian men, rejoice!' The opening is a straight transcription of the great chorale prelude for organ by J.S. Bach. After the grandeur of the opening, the tune is heard in more of a 'folky' style. A lot of related melodic material is then presented before the tune Ding-dong merrily on high is heard. After another episode of previously used music In dulci jubilo reappears in a joyful conclusion to the piece. Sheet music available from : UK: www.wind-band-music.co.uk USA: www.solidbrassmusic.com Difficulty Level: Medium Instrumentation: Piccolo Flute Oboe Bassoon Clarinet in Bb 1-2 Bass Clarinet in Bb Alto Saxophone in Eb 1-2 Tenor Saxophone in Bb Baritone Saxophone in Eb Trumpet in Bb 1-2 Horn in F 1-2 Trombone 1-2 Bass Trombone Euphonium Tuba Double Bass Timpani Glockenspiel Tubular Bells Tambourine Snare Drum Tenor Drum
In stock: Estimated dispatch 1-3 days
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£118.99Princess Mononoke, Medley - Joe Hisaishi
Series: New Sounds in Brass (NSB); Duration: approx.8'50"; Composed by Joe Hisaishi; Arranged by Takashi Hoshide. Arranger Takashi Hoshide says, "I have selected beautiful melodies from the soundtrack of 'Princess Mononoke' (1997, directed by Hayao Miyazaki) and arranged them into a medley. What can be said about these songs as a whole is that they combine a grand continental scale with the delicacy that reflects Japanese emotions. Since there are no upbeat songs in this selection, I had to work hard on the arrangement, but this allowed for creating contrasts and transitions between each scene in the performance. 'Ashitaka Sekki (English title: The Legend of Ashitaka)' - 'Sekki' means a story that is not recorded but passed down orally. In this anime, this can be considered a sub-main theme. The song starts with a feeling that the story is about to begin and, once the theme kicks in, aim for a grand performance to convey its scale. 'Encounter' - This is the music that plays during the scene where the protagonist Ashitaka meets San. Interestingly, the motif of the main theme 'Princess Mononoke' is used in this melody. Here, let's pursue the shifts in the timbre of individual phrases, creating a beautiful and aesthetic soundscape. 'Princess Mononoke' - This is the main title of the anime. The melody line is carried by horns and trumpets."
Estimated dispatch 7-14 working days
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