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£17.00
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£70.99Rockin' Elise - Ludwig van Beethoven - Frank Bernaerts
Estimated dispatch 10-14 working days
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£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
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.Duration: 14.00
Estimated dispatch 7-14 working days
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£95.995 Tantum Ergo (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
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 Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They 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.Duration: 11.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
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.Duration: 39.00
Estimated dispatch 7-14 working days
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£68.80Adagio (Concert Band - Score and Parts) - Brahms, Johannes - Houben, Kevin
Johannes Brahms can be considered to be one of the top composers of the nineteenth century chamber music. He was a giant in this field and an eminent successor of Beethoven and Haydn. A masterpiece from his chamber music oeuvre is the trio in Eb opus 40 for piano, violin and natural French horn. In 1865, the year of his Horn trio, Brahms's mother Christiane died. It's well known that he fostered deep feelings for her. The slow part of the Horn trio with the tempo indication Adagio Mesto (sad) can be considered as a lamentation for his mother. The first performance of the piece took place in Zurich on 28th November 1865 and it was published a year later in November 1866. In this version for Wind Band Kevin Houben stays as true as possible to the original. The result is a deep and dark orchestration of the wonderful Adagio Mesto. A challenge for any orchestra and extremely suitable as concert piece. Duration: 6.00
Estimated dispatch 7-14 working days
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£420.99Symphony of Freedom (Concert Band - Score and Parts) - Doss, Thomas
Symphony No.3. All men are born free and equal in dignity and rights. They are endowed with reason and conscience and are to meet one another in a spirit of brotherhood. This article 1 of the Universal Declaration of Human Rights forms the basic idea behind this majestic Symphony of Freedom. In each of the three movements, the composer picks another angle on this universal theme of freedom. In the first movement, Cry for Freedom, it's the Dalai Lama of which the composer is a great admirer. The second movement, Dream of Freedom, takes the photograph of the deceased three-year-old refugee boy Ailan Kurdi on the beach at Bodrum as a basis. The finale, Freedom Above All, refers, besides a Bruckner quote, to the music of Ludwig van Beethoven. This movement should be seen first and foremost as an affirmation of life, faith and hope for a better world.Duration: 25.00
Estimated dispatch 7-14 working days
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£60.00Ode to Joy (Flexible Ensemble - Score and Parts) - Beethoven, Ludwig van - Stanton, Scott
Your band will sound BIG on this setting of "Ode To Joy" scored especially for bands with limited or unbalanced instrumentation. As conductor, you get to create a unique band sound using the strengths of your instrumentation and following the suggested flexible interplay between sections. All players will appreciate that they get to share the melodic spotlight. Optional parts for guitar, piano, bass and percussion can be utilized to fill in the band using the Build-A-Band format. This flexible system of scoring really works! A good choice for a massed band of elementary, middle and high school musicians. First class! Duration: 2.45
Estimated dispatch 7-14 working days
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£6.95Symphony Performance Folio (Timpani/Percussion) - Monday, Deborah Baker
Here's a highly requested collection of folk tunes and classical works flexibly arranged. All arrangements can be played as a full orchestra, or string orchestra, or concert band, or woodwind ensemble, or brass ensemble, or miscellaneous combination that works for you! A percussion book is also included but not required. The pieces in the book progress from grade 2 to grade 4. Arranger Deborah Baker Monday has creatively arranged each piece for concerts or classroom training. Not to be missed! Includes: Chorale (Drese); Lo, How a Rose E'er Blooming (Praetorius); Old French Hymn; Jana Gana Mana (Tagore); Minuet from Water Music (Handel); My Bonny Lass (Morley); Beach Spring (White); Hatikvah; Rondeau from Abdelazer Suite (Purcell); Menuet from Le Tombeau de Couperin (Ravel); Turkish March from The Ruins of Athens (Beethoven); In the Hall of the Mountain King from Peer Gynt Suite (Grieg); Alborada from Capriccio Espagnol (Rimsky-Korsakov); When Johnny Comes Marching Home.
Estimated dispatch 7-14 working days
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£5.95Symphony Performance Folio (Tuba) - Monday, Deborah Baker
Here's a highly requested collection of folk tunes and classical works flexibly arranged. All arrangements can be played as a full orchestra, or string orchestra, or concert band, or woodwind ensemble, or brass ensemble, or miscellaneous combination that works for you! A percussion book is also included but not required. The pieces in the book progress from grade 2 to grade 4. Arranger Deborah Baker Monday has creatively arranged each piece for concerts or classroom training. Not to be missed! Includes: Chorale (Drese); Lo, How a Rose E'er Blooming (Praetorius); Old French Hymn; Jana Gana Mana (Tagore); Minuet from Water Music (Handel); My Bonny Lass (Morley); Beach Spring (White); Hatikvah; Rondeau from Abdelazer Suite (Purcell); Menuet from Le Tombeau de Couperin (Ravel); Turkish March from The Ruins of Athens (Beethoven); In the Hall of the Mountain King from Peer Gynt Suite (Grieg); Alborada from Capriccio Espagnol (Rimsky-Korsakov); When Johnny Comes Marching Home.
Estimated dispatch 7-14 working days
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