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£123.203 Letzte Motetten - Anton Bruckner
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism.Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism.Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892.Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra.These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz.From this developed his personal standpoint, which always pursues the connection between the old and the new.
Estimated dispatch 7-14 working days
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£256.0014 Motetten - Anton Bruckner
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism.Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism.Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892.Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra.These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz.From this developed his personal standpoint, which always pursues the connection between the old and the new.
Estimated dispatch 7-14 working days
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£90.00Bright Dawn Overture, Op. 59 - Franco Cesarini
Bright Dawn Overture was commissioned to Franco Cesarini by the Swiss Band Association as part of a project for the renewal and expansion of the artistic repertoire. "There was never a night or a problem that could defeat sunrise or hope.". This sentence by the English philosopher Bernard Williams inspired Franco Cesarini in composing this overture. In fact, even the darkest night is always followed by the sunrise and metaphorically, in every moment of difficulty, man clings to the hope of a better future. Bright Dawn Overture is written in the classic form of an Italian overture (fast-slow-fast). It is intended as a hymn of hope of recovery after a period of great difficulty. A single theme characterizes the composition, passing through the various registers and presents itself in new forms, while constantly being transformed. In the central part the theme takes on an almost mystical character, while in the finale it presents itself in a heroic guise and the composition concludes with a gesture of decisive optimism.A piece accessible to most concert bands, perfect as an opening work!
Estimated dispatch 7-14 working days
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£81.80I'm a Believer - Flex 5 ShowBlow - Neil Diamond
I'm a Believer is a song written by Neil Diamond and recorded by The Monkees for the first time in 1966. Late same year, December 31st, it enteret the first place of the Billboard chart and stayed there for seven successive weeks. This great success made it the bestselling single record in 1967. After this, the song has performed and recorded a numerous times. Among them are by Neil Diamond himself and Robert Wyatt. Smash Mouth also recorded it in 2001 for the first "Shrek" movie.
Estimated dispatch 7-14 working days
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£174.10Waltz for Debby - Bill Evans
"Waltz for Debby" was written by American jazz pianist and composer Bill Evans (1929-1980). It was heard for the first time on his 1956 debut record "New Jazz Conceptions". This recording made the tune his most famous one, included on several later recordings both for solo piano and his usual trio format. It also became a favorite on almost all his concerts. The tune is a kind of a musical portrait of Evans' niece, Debby Evans. In Scandinavia, Swedish singer Monica Zetterlund made it popular for a wider audience through her 1964-recording accompanied by Evans and his trio. On this recording, the song was renamed "Monicas vals".
Estimated dispatch 7-14 working days
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£78.95
Breaking News - John M. Pasternak
Has a monster started terrorizing your city? Has the mayor been re-elected? We've got Breaking News! Find out what the news is about at the end of this fun piece for young band. The title says it all in composer John Pasternak's new piece reminiscent of a news program theme. It is exciting, unique, and students will love to play it again and again.
Estimated dispatch 7-14 working days
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£154.60Har du fyr? - Ola Bremnes
This arrangement was made for The Suoni Wind Orchestra of Skien, Norway, and performed for the first time at their Promenade Concert "At Sea" at the Ibsen Culture Center, March 8th 2014, being the final number of the concert. Participating this concert was also the Choir Canto Libre and the two vocal soloists were Eli Kristin Hansveen and Andreas Hoff. Since that time this arrangement has been used also at other concerts involving choir and soloists. It is important that tempo is not too slow and one has to be thorough with details in the percussion parts. I have tried to paint a musical picture of the sea, as an eternal power, shifting from the quiet and lazy to thepowerful and majestic with crushing waves and stormy winds, as Ola Bremnes describes it in his fantastic lyrics. - yvind Strand - Solo Options: Vocal Soprano Sax Alto Sax Tenor Sax Trumpet Flugelhorn Euphonium (TC/BC)
Estimated dispatch 7-14 working days
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£71.50Fanfare and Jubilee - James Swearingen
Another great composition for young bands by James Swearingen. Exciting yet playable rhythms combined with memorable melodies makes this piece sound more difficult than it is. Skillfully scored so that it is playable with a limited instrumentation, it's a perfect concert or contest selection for young bands. HIGHLY RECOMMENDED!
Estimated dispatch 7-14 working days
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£49.50The Sword of Kings - Robert W. Smith
Listen carefully to this regal sounding composition by Robert W. Smith. You may find it difficult to believe that it contains only the first six notes introduced in most major band methods. "The Sword of Kings" is inspired by the legend of Excalibur. It was composed as a concert or festival work for the beginning band. Whether at the end of the first semester or the first year of study, your band will sound surprisingly sophisticated while appealing to both performer and audience alike. Active percussion combined with engaging wind parts make this an excellent choice.
Estimated dispatch 7-14 working days
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£134.30
Wellingtons Sieg - Ludwig van Beethoven
After the 'Battle of Vitoria', Beethoven's friend Johann Nepomuk Maelzel talked him into writing a composition for his panharmonicon (a kind of 'mechanical orchestra') to commemorating this battle. The piece, 'Wellingtons Sieg' ('Wellington's Victory') was dedicated to the Prince Regent, later King George IV and first performed in Vienna on 8 December 1813 at a concert to benefit Austrian and Bavarian soldiers wounded at the 'Battle of Hanau', with Beethoven conducting. It was an immediate crowd-pleaser and met with much enthusiasm from early concertgoers and the piece proved to be a substantial money-maker for Beethoven. 'Wellingtons Sieg' is something of a musical novelty. Besides the orchestra, on stage there are two 'sides', British and French, both playing the same instruments: Trumpets, Snare Drums, 'Canon' and Ratchet. The work has two parts: the 'Battle' ('Schlacht') and the 'Victory Symphony' (Sieges Sinfonie). The first part is programme music describing two approaching opposing armies and contains extended passages depicting scenes of battle. It uses 'Rule Britannia' for the British side and 'Marlbrough s'en va-t-en guerre' for the French side. The 'Victory Symphony' exhibits some typical Beethoven composing techniques. It can be considered as a sonata form that, stripped of the development section, comes equipped with an extended coda. Dutch arranger Andreas van Zoelen transcribed 'Wellingtons Sieg' for Symphonic Band.
Estimated dispatch 7-14 working days
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