Results
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£79.50The Empire Strikes Back (Finale) (Concert Band - Score and Parts) - Williams, John - Bullock, Jack
We leave the cares of our troubled world and escape to a distant galaxy where we are enveloped in one of the most captivating ongoing adventures of all time. The continuing Star Wars saga crosses all barriers of generations. From The Empire Strikes Back comes this charismatic medley. Titles include: "Star Wars (Main Theme)", "The Imperial March (Darth Vader's Theme)", "Yoda's Theme", "Han Solo and the Princess", and "May The Force Be With You." Thoroughly entertaining! Duration: 6.30
Estimated dispatch 7-14 working days
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£144.95Symphony Ad 78 (Concert Band - Score and Parts) - Jacob, Gordon
A powerful work. An opening fanfare leads directly to an Allegro risoluto, which exudes determination and forthrightness. The second movement follows without a break and is a continuous plaint in which the melody seems forever seeking resolution like a troubled soul searching for respite. Only in the closing bars does peace seem to take over. The final movement, marked Allegro non troppo, starts with a cheering fanfare that leads to a bright and breezy romp, with a rustic feel about it. When the fanfare reappears we are suddenly immersed in exaltations of joy that really give a feeling of optimism as we proceed to the end of the piece via a short Coda.
Estimated dispatch 7-14 working days
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£28.95
Symphony Ad 78 (Concert Band - Score Only) - Jacob, Gordon
A powerful work. An opening fanfare leads directly to an Allegro risoluto, which exudes determination and forthrightness. The second movement follows without a break and is a continuous plaint in which the melody seems forever seeking resolution like a troubled soul searching for respite. Only in the closing bars does peace seem to take over. The final movement, marked Allegro non troppo, starts with a cheering fanfare that leads to a bright and breezy romp, with a rustic feel about it. When the fanfare reappears we are suddenly immersed in exaltations of joy that really give a feeling of optimism as we proceed to the end of the piece via a short Coda.
Estimated dispatch 7-14 working days
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£202.99Avalon Wind Band Set (Score & Parts)
The magical world of King Arthur, Merlin and Mordred is the setting for Avalon. Unexpected opening figures portray the sudden entrance into another world. A choral-like melody represents the procession of ghosts headed by the mighty magician Merlin. Suddenly, ostinato figures and bi-tonal motifs indicate the attempt of Mordred and his horde to disturb the peace and quiet in the otherwise calm Avalon. Following a powerful statement of King Arthur, we hear a glissando referring back to the opening bars, and... we are back in the normal world. The journey through the underworld has come to an end and the dream is over. 0:16:20
Estimated dispatch 7-14 working days
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£24.95COUNTDOWN (To Eternity?) (Prestige Concert Band Extra Score) - Short, Michael
Extra Score Phase 1 (Mystery) - the fascination of nuclear power; the strangeness of its invisible radiation and enormous unleashed energy which may be beneficial to the human race, but which can also cause violence of colossal magnitude. Phase 2 (Imaginations) - Anxiety begins and nervous doubts increase as thoughts intrude of what might happen if things went wrong: warfare, mechanical failure, uncontrolled fission, explosion, melt-down, firestorms, fallout, burns, contamination, disease, mutation, the desolation of a nuclear winter. Phase 3 (Reality) - Time is ticking on. We accept the benefits of nuclear power, tinged with unease and incomprehension. The piece ends with doubt and uncertainty - only time will tell if we are right or wrong. Performance time 16'56" (Recorded on QPRM115D GREAT BRITISH MUSIC FOR WIND BAND, Western Band of the Royal Air Force)
Estimated dispatch 7-14 working days
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£124.95
COUNTDOWN (To Eternity?) (Prestige Concert Band Set) - Short, Michael
Score and Parts. Phase 1 (Mystery) - the fascination of nuclear power; the strangeness of its invisible radiation and enormous unleashed energy which may be beneficial to the human race, but which can also cause violence of colossal magnitude. Phase 2 (Imaginations) - Anxiety begins and nervous doubts increase as thoughts intrude of what might happen if things went wrong: warfare, mechanical failure, uncontrolled fission, explosion, melt-down, firestorms, fallout, burns, contamination, disease, mutation, the desolation of a nuclear winter. Phase 3 (Reality) - Time is ticking on. We accept the benefits of nuclear power, tinged with unease and incomprehension. The piece ends with doubt and uncertainty - only time will tell if we are right or wrong. Performance time 16'56" (Recorded on QPRM115D GREAT BRITISH MUSIC FOR WIND BAND, Western Band of the Royal Air Force)
Estimated dispatch 7-14 working days
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£89.10Goddess of Fire
A magnificent programmatic work for symphonic band that is an offering to Pele, the Goddess of Hawaii's volcanoes. The work opens with primordial, mysterious sounds representing the foreboding volcanoes of Hawaii. We are then introduced to Pele as a tall, beautiful young woman. This is one of the forms she can take and it represents her powers of creation and beauty. This gives way to the active and destructive Pele, often taking the form of an old woman, wrinkled and bent with age. The following lyrical section of the piece is the full statement of Pele's theme of creation and beauty. As this theme settles, we begin to hear the ground pop and crack letting us know that new lava is beginning to bubble and flow. Suddenly and violently, one of her volcanoes erupts, creating massive chaos and destruction. After the eruption subsides, Pele's theme of creation and beauty returns again. A wonderful addition to any concert or festival performance by mature bands. Exceptional in every respect!
Estimated dispatch 7-14 working days
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£54.99
Show World - J.J. Richards
Note: This is a reprint from a vintage publication of 1907.THIS SET IS CURRENTLY MISSING A SOPRANO SAX AND Eb CORNET PART. WE ARE WORKING TO RESOLVE THE ISSUE.No conductor score is published for this work. The Solo Cornet part serves as a conductor guide.Parts for Eb Horns are included; no F Horn parts are published for this work.If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
Estimated dispatch 7-14 working days
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£204.99
Credentium - Jan van der Roost
A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it.There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.
Estimated dispatch 7-14 working days
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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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