Results
-
£109.99Boreas - Jan Bosveld
In Greek mythology, Boreas is the God of the North Wind. When thinking of the north wind we particularly think of the bleak wind coming from the freezing cold north, but in Homers' work we see a more varied picture. As shown in the following two stories, Boreas often does play the role of a storm wind that blows forth heavy dark clouds while whipping up the dark waves of the tempestuous sea to mountainous heights. When the stake of the fallen Patroclos refuses to burn, Achilles begs for some wind. When Iris, the swift messenger of the Gods, asks the winds for assistance, they raise themselves up with tremendous roaring and rush to Troy. Upon theirarrival they blow the divine fire of Patroclos' stake far up into the sky. When Troy was destroyed, the Greeks returned home. After many wanderings, Odysseus, however, ends up with the beautiful nymph, Calypso, who keeps him as a prisoner. As ordered by Zeus, Calypso frees him and sends him off on a handmade wooden raft. At sea, Odysseus is threatened by the aggressive sea god, Poseidon, who stirs up the winds and thrashes the waves with his trident. The goddess, Athena, stems the violence of all the winds except for the north wind, and thus it is Boreas, who sends Odysseus to the land of the hospitable Phaiakes. Jan Bosveld composed Boreas for OLTO, a music association in Loenen, The Netherlands, for which he had served as conductor for many years. Turbulent movement in both tempo and dynamics characterize this composition. The result is a whirling piece that races by in a positive manner. Boreas is in de Griekse mythologie de god van de noordenwind. Bij noordenwind denken wij vooral aan de gure wind uit het ijskoude noorden, bij Homerus echter zien we een meer gevarierd beeld. Natuurlijk speelt Boreas, zoals uit de twee onderstaande verhalen blijkt, meestal de rol van de stormwind die de zware zwarte wolken voor zich uit blaast en de donkere golven van de onstuimige zee torenhoog opzwiept.
Estimated dispatch 7-14 working days
-
£104.99Killing Me Softly with His Song - C. Fox
The tender ballad Killing Me Softly with His Song was written by Charles Fox and Norman Gimbel in 1971, for de American singer Lori Lieberman. She was very impressed with a performance by the then still unknown Don McLean in the Troubadour in Los Angeles. The feelings described in the lyrics are indeed those of Lieberman, but the one who - two years later - made the song world-famous was Roberta Flack. Her version won as many as three Grammy Awards. Since then, Killing Me Softly has been performed by numerous artists, including Herb Alpert, Frank Sinatra, Aretha Franklin, Anne Murray, Luther Vandross, and the Fugees.
Estimated dispatch 7-14 working days
-
£109.99
The Bermuda Mystery - Wouter Lenaerts
The rather static character of the first part is built up of only 1 bar, which consists of a sequence of two extended triads above a pedal note (B-flat). The main motive, derived from these triads, is introduced by the horns giving a threatening initial atmosphere. This is abruptly taken over by the clarinet and the oboe, after which violence erupts.In contrast to the mysterious character of the first section, the second part shows a more resigned atmosphere with long drawn out phrases. These are constantly interupted by references to the initial material and develop into a dramatic climax. The main motif reappears for a final time on the trumpet, which, under theinfluence of the second theme, takes on a more resigned character as it gradually fades into silence.
Estimated dispatch 7-14 working days
-
£199.99Dance of the Seven Veils from Salome - Richard Strauss
Oscar Wilde, author of Salome, described the scene simply as "Salome dances seven veils' dance." Though the goal is seduction of her stepfather King Herod, Salome's actions aren't overtly erotic, at least initially. A manic introduction in the score is halted by the dancer, who begins again with a languid, deliberate act of attrition, as the orchestra presents heavily ornamented long tones, interspersed with waltzes and teasing melismas. Salome's tempo gradually increases as she sheds her veils in a final frenzy, then collapses as though in exhaustion. After a moment's pause, she rises again to throw herself at Herod's feet in triumph.An arrangement of Salome was commissioned by Tsuman Junior High School Wind Orchestra for use at the All Japan Band Competition. That version was two thirds of this work; the remaining third was too technical for use at that time. This full version was completed for a recording by the Ground Self Defense Force Central Band for the Brain Company/Bravo Music CD "New Arrangement Collections Vol. 8."(Kazuhiro Morita)
Estimated dispatch 7-14 working days
-
£89.99Minerva - Jan Van der Roost
Minerva by Jan Van der Roost was composed on the commission of the German "Musikverein Braunshausen" on the occasion of the 75th anniversary of the orchestra. The composition, first performed on September 17, 1999, is not a street march but a concert march, just like Mercury and Arsenal. The use and variation of different rhythmic patterns gives the first part of this march a distinctly dynamic character. Two main themes are presented in several instrumental combinations. The theme from the trio, on the other hand, is characterized by a broad melodic approach using large intervals. This theme, wreathed by high woodwinds, is heard one more time after a contrasting newpart, but now in a somewhat slower tempo. The counterpoint in this part refers to the first part of the march. The brilliant ending suits a festive anniversary march!
Estimated dispatch 7-14 working days
-
£69.00
UNO-Marsch - Robert Stolz
In the 1960's, Austrian composer Robert Stolz (1880-1975) wrote the "UNO-Marsch" op. 1275, the United Nations March. He was inspired and motivated by his friend Ralph Bunche, a U.S. diplomat and civil rights activist. Even as an adolescent, African-American Bunche was concerned with race issues and repression. With time he acquired high political status and was a mediator for the United Nations during several global crises. In 1950, he was the first Black person to be awarded the Nobel Peace Prize. The two friends Ralph Bunche and Robert Stolz (who had left his homeland in the National Socialism era) felt strongly connected by their revulsion of racial segregation and by their wish for humanity's peaceful coexistance."UNO-Marsch" honors the important work of the United Nations and is a musical tribute to the larger goal of peace. The composition gained particular European popularity when the Vienna Philharmonic Orchestra and conductor Mariss Jansons opened their famous New Year's concert in 2016 with "UNO-Marsch".
Estimated dispatch 7-14 working days
-
£89.99Bolero For Band - Maurice Ravel
Initially commissioned by Ida Rubenstein as a ballet work initially, Maurice Ravel's BOLERO has become his most popular and often-performed orchestra composition, which was a surprise to the composer who described it as seventeen minutes of orchestra without any music. With a structure that is simplicity itself, BOLERO uses two alternating melodies in what Ravel described as a crescendo on commonplace melod[ies]. Mark Rogers' transcription of BOLERO is an entirely complete wind band version of the piece; omitting not a single note or exotic instrument, thereby transferring the brilliance of Ravel_x001A_s orchestral score to the symphonic wind band with as much fidelity to the original as possible. Ravel calls for a very large orchestra (triple woodwinds, saxophones, large brass section, harp, celesta and percussion). Consequently, this transcription of BOLERO contains a large amount of divisi writing. It goes without saying that this transcription will be most successfully performed by large symphonic wind band.
Estimated dispatch 7-14 working days
-
£79.50Joy Dance - Scott Watson
Joy Dance, by Scott Watson, musically conveys an unrestrained expression of happiness and exhilaration. Inspired by David's ecstatic dance of praise in 2 Samuel 6:14 ("And David danced before the Lord with all his might..."), the piece combines artifacts of popular and contemporary music, including bold syncopations, a driving 5/4 meter groove, and use of contemporary and gospel harmonies. A large percussion section (7 players, including two mallet parts and timpani) adds essential color and energy. Whether it's worship, thankfulness, celebration, or blissful abandon, this composition reflects the radiant rejoicing of those who revel in all life's goodness! (4:10)
Estimated dispatch 7-14 working days
-
£139.00Me and Mrs. Jones - Kenneth Gamble
Me and Mrs. Jones was written by Kenny Gamble, Leon Huff and Cary Gilbert in 1972, and was first recorded by Billy Paul on the album 360 Degrees of Billy Paul. The song is about a man who has an affair with Mrs. Jones, and how the two secretly meet every day in the same cafe, even though they may know it's not quite right: "We got a thing going on/we both know that it's wrong/but it's much too strong/to let it go now." Paul has stated that he was sure the song was going to be a hit even before it was released, as "it's a song everyone can relate to", but already from the start the lyrics were considered somewhat controversial and the song were banned from several radio stations. Nevertheless, it became one of the best-selling singles of 1972 and Paul received a Grammy for Best Male R&B Vocal Performance.Well known is also Michael Bubl's version of the song, released on the album Call Me Irresponsible in 2007. It is his version that has been the inspiration for this arrangement, which brings out even more of the jazz elements Bubl has found in the song. The arrangement is quite demanding for the ensemble, and requires great rhythmic precision in particular.
Estimated dispatch 7-14 working days
-
£152.99A Midsummer Night's Dream - Felix Mendelssohn Bartholdy
Felix Mendelssohn Bartholdy (1809 - 1847) composed the music for William Shakespeare's play A Midsummer Night's Dream at two different times. In 1826, at the age of 16, he wrote a concert overture (Op. 21). Sixteen years later, in 1842, he composed the incidental music (opus 61) for King Frederick William IV of Prussia, in which he incorporated the existing overture. The overture premiered in Stettin (then in Prussia, now Szczecin, Poland) on February 20, 1827, conducted by Carl Loewe. Mendelssohn had to travel 80 miles through a raging snowstorm to get to the concert, which became his first public appearance. The first British performance of the overture was conducted by Mendelssohn himself on June 24, 1829, at the Argyll Rooms in London. After the concert, Thomas Attwood was given the score of the overture for safekeeping, but left it in a taxi and was never found. Mendelssohn later rewrote the overture entirely from memory.
Estimated dispatch 7-14 working days
View Music