Results
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£159.99Guardian Angels - Kevin Houben
Guardian Angels gives a musical expression to the legend of Reverend Louis Henri Bhler referring to the use of Psalm 34.North-west Veluwe and in particular Oldebroek (The Netherlands) has a very rich religious tradition which is demonstrated by its monumental churches. They tell the story of a stirring history in which Reverend Bhler played a crucial role. Inspired by his arrival as a pastor in 1870 in the neighbouring Oosterwolde, two big religious communities came into existence with their characteristic churches but this rivalry also resulted in great social unrest.This composition reflects on this striking personality and in particular on the story of the Angel Guard.'One evening Reverend Bhler has given a sermon in Oldebroek and he walks over the Church path through the pastures to Oosterwolde. On this dark and stormy evening Bhler's opponents are waiting for the pastor in ambush. They want to drown him in a watercourse near the Church path but abandon their plan because Bhler is accompanied by two men. The next day it comes to an encounter between Bhler and his opponents. They repent their, fortunately unexecuted , plan. Bhler firmly believes that on the previous night he walked alone over the Church path, and was not accompanied by two men. It was concluded that it must have been the angels who had protected Bhler.'Psalm 34 is central to this composition and this because of its powerful melody but also because the lyrics of verse 4 of the rhymed version fit in well with the special legend of Reverend Bhler:The Lord's angel gathered round himAn invincible heavenly guard,Who tries God's will, around himSo he's well guard(ed)A second melodious and harmonic cell is a musical transformation of the name 'Bhler'. This cell is varied in major and minor third chords and sometimes used as the main idea or apotheosis, but also serves as an accompanying cell or as a bridge between other melodic and rhythmic constructions.The composition was made possible by contributions of: Mr Evert van de Poll, owner of the Van Gelder Groep, Het Prins Bernhard Cultuurfonds Gelderland en Het Feteris Oosterbaan Fonds.
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C-minor BWV 582 - Johann Sebastian Bach
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord.
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C minor BWV 852 (Concert Band - Score and Parts) - Bach, Johann Sebastian - Cesarini, Franco
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord. Duration: 12.45
Estimated dispatch 7-14 working days
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£159.99Guardian Angels (Concert Band - Score and Parts) - Houben, Kevin
Guardian Angels gives a musical expression to the legend of Reverend Louis Henri Bahler referring to the use of Psalm 34. North-west Veluwe and in particular Oldebroek (The Netherlands) has a very rich religious tradition which is demonstrated by its monumental churches. They tell the story of a stirring history in which Reverend Bahler played a crucial role. Inspired by his arrival as a pastor in 1870 in the neighbouring Oosterwolde, two big religious communities came into existence with their characteristic churches but this rivalry also resulted in great social unrest. This composition reflects on this striking personality and in particular on the story of the Angel Guard. 'One evening Reverend Bahler has given a sermon in Oldebroek and he walks over the Church path through the pastures to Oosterwolde. On this dark and stormy evening Bahler's opponents are waiting for the pastor in ambush. They want to drown him in a watercourse near the Church path but abandon their plan because Bahler is accompanied by two men. The next day it comes to an encounter between Bahler and his opponents. They repent their, fortunately unexecuted, plan. Bahler firmly believes that on the previous night he walked alone over the Church path, and was not accompanied by two men. It was concluded that it must have been the angels who had protected Bahler.' Psalm 34 is central to this composition and this because of its powerful melody but also because the lyrics of verse 4 of the rhymed version fit in well with the special legend of Reverend Bahler: The Lord's angel gathered round him An invincible heavenly guard, Who tries God's will, around him So he's well guard(ed) A second melodious and harmonic cell is a musical transformation of the name 'Bahler'. This cell is varied in major and minor third chords and sometimes used as the main idea or apotheosis, but also serves as an accompanying cell or as a bridge between other melodic and rhythmic constructions. The composition was made possible by contributions of: Mr Evert van de Poll, owner of the Van Gelder Groep, Het Prins Bernhard Cultuurfonds Gelderland en Het Feteris Oosterbaan Fonds. Duration: 16.30
Estimated dispatch 7-14 working days
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£420.99Four Earth Songs (Concert Band - Score and Parts) - Putz, Marco
The hymn Nun ruhen alle Wlder (Now All Forests Rest), arranged by J.S. Bach (No. 6, So sei nun, Seele, deine, from Cantata BWV 13), is a guiding light throughout this four-movement composition. Pu?tz wrote this work as a musical outcry against the wilful, profit-driven destruction of our environment. When Bach used the word "ruhen" (to rest) over 350 years ago, it probably had a different nuance from the meaning it has today. At the beginning of the 21st century - the so-called age of progress - "nun ruhen alle Wlder" should mean "now all forests die" . Massive industrialization and globalization, coupled with pure greed, corruption, political scandals, an ever-widening gap between the rich and poor, and other such senseless human actions, are pushing our blue planet closer and closer to the point of no return. This work is not intended to be a ranting accusation. It should remind us of the beauty and harmony that can exist all around us in nature, if we take care of it. Pu?tz hopes that this will, one day, help put a greater emphasis on humanity's survival, and coexistence with nature rather than the exploitation described earlier. All four texts were created by Australian poet Graeme King, whose works were discovered by Pu?tz, by chance on the internet. Pu?tz was especially captivated by King's clarity, and intrigued by the possibilities of adapting and melding the strong rhythmical structure of King's writing with his own musical language. The four movements are as follows: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow The world premire of Four Earth Songs took place on 7 July 2009 at the 14th WASBE-Conference in Cincinnati (USA). This work is dedicated in friendship to Jouke Hoekstra, conductor, and the Frysk Fanfare Orkest (the Frisian Fanfare-Orchestra).Duration: 27:30
Estimated dispatch 7-14 working days
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£94.99O Christmas Tree (Concert Band - Score and Parts) - Well, David
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These 'living' trees, said to be the work of benign spirits, were brought into people's houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church in the course of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschutz from Leipzig was the first person to notate the song 'O Tannenbaum', the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.Duration: 3:15
Estimated dispatch 7-14 working days
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£104.99Song of Hope - Jan Van der Roost
2011 was a disastrous year for Japan: on March 11 the northeast of the country suffered a violent earthquake, which triggered a huge tsunami and caused massive damage to people and the environment. The ensuing problems with the nuclear reactor atFukushima only increased the misery: a black day in the country's history...One almost inevitable consequence of such dramatic circumstances is the particular damage suffered by the cultural arts. And so it was in Japan: various high school wind orchestras in the effected areas lost their practice rooms and/or instruments.It will take a long time before the damage suffered is repaired - and it will take great effort to overcome the psychological effects, too. Focusing on the latter, Yutada Nishida (director of The Bandwagon radio program) asked a few composers fora simple work that could be played by many orchestras. It just so happened that the Osakan Philharmonic Winds (with whom Jan Van der Roost had conducted a concert exclusively of his own works on September 25th) had had a similar idea. This concert saw the baptism of Song of Hope. This pieceimmediately struck a chord with musicians and audience alike: it begins bleakly in the low register and evolves to a more open, optimistic close. There really is hope for better times!
Estimated dispatch 7-14 working days
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£248.99Missa Brevis - Jacob de Haan
Missa Brevis, written for choir and wind band, was commissioned by the Conseil Dpartemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX'sbirth in guisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:1. clarinet choir (from Eb Clarinet to BassClarinet)2. clarinet choir + saxophones3. brass (flugelhorns, horns, euphoniums, bass section)4. brass (2 trumpets / 2 trombones)5. double reeds (optional + flute, optional + string bass)6. tutti7. all winds8. allbrassIn a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.Choral parts available separately.
Estimated dispatch 7-14 working days
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£495.00English Dance Suite (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Original Scoring. Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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£125.00English Dance Suite - I. Chacony on a Golden Theme (Concert Band - Score and Parts) - Gardner, John - Noble, Paul
Arranged for the modern Concert/Wind Band, scored for three trumpets, reasonable doubling of parts where the original musical effect is not altered so that players can have a more responsible and enjoyable experience, more legible parts with less doubling on one staff, etc. The piece is offered either as a complete suite of seven movements, and also as seven individual movements which may be purchased independently. The English Dance Suite was originally composed by John Gardner for Wind Band, and has been re-set for the modern Concert Band instrumentation. Both the original version, edited and type-set by Paul Noble, and this arrangement are first editions now available for purchase to bands around the world. The set of seven Renaissance dances depict John Gardner's love of Scottish music, the Renaissance heritage, and some of his own mischievous approach to music. The first movement, Chacony on a Golden Theme, reminiscent of the Allegro movement of Purcell's Golden Sonata, is much used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offered a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. The Alman originated in the 16th century as a duple metere dance of moderate tempo, already considered very old, with a characteristic double-knocking upbeat of one or occasionally three sixteenth notes. It appears to have derived from a German dance but no identifiable dance and no German dance instructions from this era survive. The Hornpipe, usually in 3/2 dance rhythm, is an Irish, Scottish and English dance. It is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the hornpipe dance: fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe and then switch in later years. The Corranto is a 16th-century court dance characterized by short advances and retreats, in quick triple time. The Volta (Italian: the turn or turning) is an anglicised name from the later Renaissance. Its main figure consisted of a turn and lift in a sort of closed position. The Pavan is a slow processional dance common in Europe during the 16th century. The Reel, indigenous to Scotland, consists largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.
Estimated dispatch 7-14 working days
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