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£147.00
Black Saturday (CB) - Stijn Aertgeerts
The 'Black Saturday' bushfires were a series of bushfires that ignited or were burning across the Australian state of Victoria on and around Saturday, 7 February 2009 and were Australia's worst ever bush fire disasters. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire, 173 people died and 414 were injured as a result of the fires.
Estimated dispatch 7-14 working days
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£94.99O Christmas Tree
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 inthe 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 Anschtz 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.
Estimated dispatch 7-14 working days
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£159.99In Nomine (Concert Band - Score and Parts) - Schwarz, Otto M.
How often has something been justified by, declared to be, or blessed as 'in the name of' some cause or other? How can it be that opposing armies and the use of weapons are ever 'in the name of...'? This is a common thread in the history of different faiths. Good was created but evil was committed and all 'in the name of...' This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium ('the desert will bloom like a lily'); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' leftovers on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music, which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it, that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life, the Premonstratensian abbey, is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.Duration: 11.15
Estimated dispatch 7-14 working days
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£375.00Facade - An Entertainment, Suite from (Concert Band with Optional Narrator - Score and Parts) - Walton, William - Noble, Paul
This Suite from Facade - An Entertainment, composed by William Walton, with poems by Dame Edith Sitwell, presents for the first time a grouping of movements selected and arranged by Paul Noble for Concert Band and optional Reciter. The original composition was written between 1921 and 1928, containing forty-three numbers. They had their origin in a new style of poetry that Edith Sitwell evolved in the early 1920s, poems that her brother Osbert later described as 'experiments in obtaining through the medium of words the rhythm and dance measures such as waltzes, polkas, foxtrots... Some of the resulting poems were sad and serious... Others were mocking and gay... All possessed a quite extraordinary and haunting fascination.' Possibly influenced by the dance references in some of the numbers, Osbert declared that the poems might be further enhanced if spoken to a musical accompaniment. The obvious choice of composer was the young man who lived and worked in an attic room of the Sitwell brothers' house in Carlyle Square W[illiam] T[urner] Walton, as he then styled himself. The now historic first performance of the Facade Entertainment took place in an L-shaped first-floor drawing-room on January 24, 1922. Accompaniments to sixteen poems and two short musical numbers were performed by an ensemble of five players. The performers were obscured from the audience by a decorated front curtain, through which a megaphone protruded for Edith to declaim her poems. This was, as she put it, 'to deprive the work of any personal quality'. The first public performance of Facade was given at the Aeolian Hall on June 12, 1923. By now, fourteen poems had been set, others revised or rejected, and an alto saxophone added to the ensemble. The occasion gave rise to widespread publicity, both pro and contra, and the name of the twenty-one year old W. T. Walton was truly launched. In the ensuing years the Facade has gone through revisions and additions, with full orchestral arrangements of selected movements being made without the Reciter. Former Band Director Robert O'Brien arranged some movements for band, again without Reciter, which are now out of print. So this 'history making' addition is the first opportunity for Concert Bands to present some movements of Facade with poems as originally intended. The luxury of electronic amplification allows the full ensemble to perform without necessarily overshadowing the Reciter. And the arrangements are written with considerable doubling so that the ensemble may play in full, or reduced in size as may be desired for proper balance. And, though not encouraged, the arrangements are written so that the band can perform the music without the Reciter. Program notes are adapted in part from those written by David Lloyd-Jones and published by Oxford University Press in the Study Score of William Walton's Facade Entertainments.
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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£106.99Eloise (Concert Band - Score and Parts) - Ryan, Paul - Sparke, Philip
Paul and Barry Ryan were identical twin sons of 1950's pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single 'Don't Bring Me Your Heartaches' reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety of artists, including punk legends The Damned.Duration: 5:30
Estimated dispatch 7-14 working days
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£95.995 Tantum Ergo - 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.Hymns for four-part mixed choir a cappella (1846, St. Florian)No. 1 in E flat major (WAB 41/3): Quite SlowNo. 2 in C major (WAB 41/4): AndanteNo. 3 in B flat major (WAB 41/1): SlowNo. 4 in A flat major (WAB 41/2): SlowHymn for five-part (2 S, A, T, B) mixed choir and organNo. 5 in D major: SolemnlyThey are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.
Estimated dispatch 7-14 working days
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£58.50
Spirit Of ?44 - Cotter
Toward the end of WWII, both sides had amassed a great number of POW's. These people were used as labor to build roads and bridges. To keep moral high, the POW's made up songs that were sung or whistled. These tunes made the work go faster and were used to communicate messages. The "Spirit of '44" was written in honor of those valiant men and women. Try whistling the melody. It might raise your spirits, too.
Estimated dispatch 7-14 working days
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£141.99Shaker Heights Fantasy - Philip Sparke
The Shakers were a sect who, in the 18th Century, sailed out from England to America. Right into the late 19th Century, the numerous songs of this community were handed down orally, until they were written down in various volumes of song collections.Philip Sparkes fantasy for wind band is based on a selection of these beautiful, captivatingly simple songs.
Estimated dispatch 7-14 working days
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£134.99The Legend of Ratu Kidul - Filip Ceunen
The Legend of Ratu Kidul carries us into the world of Indonesian mythology, on the island of Java:Once upon a time, the Queen of the Southern Seas was a kind and beautiful princess. She was the daughter of Prabu Munding Wangi, the favourite ofthe entire court and the local people. Her royal father doted on his daughter. Her name was Dewi Kadita, but many called her Dewi Srengenge or the Angry Princess.Prabu Munding Wangi longed for an heir, but Dewi Kadita's mother couldn't fulfil thiswish. So he took a second wife, called Poetri Moentiara, who was very jealous of the lovely princess and her mother. She begged the king to banish both her rivals from court. However Prabu Munding Wangi didn't do as she asked. He loved his first wifeand her daughter. The second wife bore him a healthy heir, but the monarch remained firm. So Poetri Moentiara called upon the renowned witch, Djahil. She promised her a princely reward, if Dewi Kandita and her mother were banished. Djahil thought fora moment and incanted this rapal (spell): "May leprosy befall you both". Soon both mother and daughter began to suffer this dreadful disease. According to the law of the land, they were to be banished to the wild forest high on the mountain. With aheavy heart, King Munding Wangi saw the law carried out. So the two set off on their way to the forest, covered in terrible sores. A great sadness fell across the land, except for Poetri Moentiara, the second wife of the king, who had achieved heraim. The princess fell on hard times. In the forest lived a hermit, who took pity on the mother and daughter. The queen couldn't bear the shame and within a few days had died. Now Dewi Kandita was all alone in the world. There was still the hermit,however, who fortunately provided food and shelter in a cave temple. He bound her weeping sores but couldn't relieve her emotional pain. Dewi Kandita became increasingly bitter and eventually left the hermit. She travelled southward from village tovillage, further and further, until eventually she reached the shores of the Southern Sea. She climbed upon a high cliff and gazed out onto the sea that spread before her. She was tempted to dive into the deep green and blue. In the cool waters shewould be able to forget all her pain and suffering. Suddenly awaking from these thoughts, she jumped into the deep. The gods, who had looked on Dewi Kandita throughout her hardships, were filled with deep compassion. So they transformed her into apowerful spirit of the netherworld, Ratu Kidul, and to this day she resides in her grand palace under the sea.
Estimated dispatch 7-14 working days
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