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£174.99Two Symphonic Interludes - Harrie Janssen
Based on the poems by German poet Carl Hauptmann (late Romanticism) and the English poet William Wordsworth (early Romanticism). Carl Hauptmann was in poor health as a child, but highly intelligent. He studied philosophy, psychology and biology. In the latter he was admitted to the degree of doctor. His marriage provided financial independence, so that he could focus on his studies. Hauptmann wrote various novels, plays, poetry and scientific works. Night Twilight floats above the valley's night mists are hanging, there's a whispering brook. Now the covering veil is lifting quite: come and look! See the magicland before our gaze: tall as dreams the silver mountains stand, crossed by silent silver paths shining from a secret land. Noble, pure, the dreaming country sleeps. By the path the shadow black and hogh of a beach. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O my soul! Drink of solitude! Carl Hauptmann Wordsworth 'introduced' a new type of poetry, based on the speech of the common man. This was his answer to the poetry of the classicism which was bound by rigid rules. His definition of poetry was: the spontaneous overflow of powerful feelings from emotions recollected in tranquility. My heart leaps up when I behold a rainbow in the sky My heart leaps up when I behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old, Or let me die! The Child is father of the Man. And I could wish my days to be Bound each to each by natural piety. William Wordsworth In a truly poetic manner Harrie Janssen has transformed the contemplative thoughts of the poets into two compositions for Concert Band.
Estimated dispatch 7-14 working days
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£53.95Sails (Concert Band - Score and Parts) - Gassi, Vince
You'll feel the wind at your back as this bright march weighs anchor with a bold opening and sets sail with flutes and oboes stating the main theme. Sails unfurl and the rest of the fleet (ensemble) joins in. Counter-lines and flourishes are added. Eventually the seas calm during a passage through a slower lyrical section where the opening thematic material is developed. But wait, there is land in sight! A new key is stated, and all return safely to port.Duration: 3.00
Estimated dispatch 7-14 working days
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£150.00Cockaigne Overture (In London Town) (Concert Band - Score and Parts) - Elgar, Edward - Noble, Paul
Cockaigne Overture was composed when Edward Elgar received a commission from the Royal Philharmonic Society, and he reported that the new piece was "cheerful and Londony, 'stout and steaky'...honest, healthy, humorous and strong, but not vulgar." The first performance was in the Queen's Hall, London, on 20 June 1901, conducted by the composer. He dedicated the work to his "many friends, the members of British orchestras." The music was an immediate success and became one of Elgar's most popular works. In its 15 minutes or so, the overture gives a lively and colourful musical portrait of Edwardian London. 'Cockaigne' was a term used by moralists at that time as a metaphor for gluttony and drunkenness, while Britain adopted the name humorously for London, and from it we get the Cockney. Cockaigne or Cockayne /ka' kein/, the word origin tracing back to the 13th century, is a land of plenty in medieval myth, an imaginary place of extreme luxury and ease where physical comforts and pleasures are always immediately at hand and where the harshness of medieval peasant life does not exist. The work presents various aspects of turn-of-the-century London and Londoners. It begins with a quiet but bustling theme which leads into an unbroken sequence of snapshots: the cockneys, the church bells, the romantic couples, a slightly ragged brass band (perhaps the Salvation Army) and a contrastingly grand and imperious military band. The broad theme representing Londoners has been stated as the first occurrence of Elgar's trademark direction, 'nobilmente.' The work ends in a characteristically Elgarian blaze of sound, including an optional full organ.
Estimated dispatch 7-14 working days
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£44.20
Het Leven Is Goed In M'n Brabantse Land
Estimated dispatch 7-14 working days
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£119.99Sea of Hope (Concert Band - Score and Parts) - De Haan, Jacob
Sea of Hope is an optimistic work about new land arisen from the former Zuiderzee (the Netherlands). In the introduction, the sea is conveyed in all its glory and ferocity, through a melody that keeps you wondering whether it makes you happy or sad. Then, finally, there is a glimmer of hope, when the water is dammed up and the land partly reclaimed (by conversion into polder land). The town of Dronten, for instance, develops into a place where one day two people meet up and fall in love. This love is reflected in the slow, passionate middle movement. New life in the town is celebrated joyfully: the zest for life clearly shines through this part of the work, followed by optimism and celebration in the closing bars.Duration: 8.30
Estimated dispatch 7-14 working days
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£248.99Odysseia (Concert Band - Score and Parts) - Aulio, Maxime
Washed up on the Phaeacian shore after a shipwreck, Odysseus is introduced to King Alcinous. As he sits in the palace, he tells the Phaeacians of his wanderings since leaving Troy. Odysseus and his men fi rst landed on the island of the Cicones where they sacked the city of Ismarus. From there, great storms swept them to the land of the hospitable Lotus Eaters. Then they sailed to the land of the Cyclopes. Odysseus and twelve of his men entered the cave of Polyphemus. After the single-eyed giant made handfuls of his men into meals, Odysseus fi nally defeated him. He got him drunk and once he had fallen asleep, he and his men stabbed a glowing spike into the Cyclop's single eye, completely blinding him. They escaped by clinging to the bellies of some sheep. Once aboard, Odysseus taunted the Cyclop by revealing him his true identity. Enraged, Polyphemus hurled rocks at the ship, trying to sink it. After leaving the Cyclopes' island, they arrived at the home of Aeolus, ruler of the winds. Aeolus off ered Odysseus a bag trapping all the strong winds within except one - the one which would take him straight back to Ithaca. As the ship came within sight of Ithaca, the crewmen, curious about the bag, decided to open it. The winds escaped and stirred up a storm. Odysseus and his crew came to the land of the cannibalistic Laestrygonians, who sank all but one of the ships. The survivors went next to Aeaea, the island of the witch-goddess Circe. Odysseus sent out a scouting party but Circe turned them into pigs. With the help of an antidote the god Hermes had given him, Odysseus managed to overpower the goddess and forced her to change his men back to human form. When it was time for Odysseus to leave, Circe told him to sail to the realm of the dead to speak with the spirit of the seer Tiresias. One day's sailing took them to the land of the Cimmerians. There, he performed sacrifi ces to attract the souls of the dead. Tiresias told him what would happen to him next. He then got to talk with his mother, Anticleia, and met the spirits of Agamemnon, Achilles, Patroclus, Antilochus, Ajax and others. He then saw the souls of the damned Tityos, Tantalus, and Sisyphus. Odysseus soon found himself mobbed by souls. He became frightened, ran back to his ship, and sailed away. While back at Aeaea, Circe told him about the dangers he would have to face on his way back home. She advised him to avoid hearing the song of the Sirens; but if he really felt he had to hear, then he should be tied to the mast of the ship, which he did. Odysseus then successfully steered his crew past Charybdis (a violent whirlpool) and Scylla (a multiple-headed monster), but Scylla managed to devour six of his men. Finally, Odysseus and his surviving crew approached the island where the Sun god kept sacred cattle. Odysseus wanted to sail past, but the crewmen persuaded him to let them rest there. Odysseus passed Circe's counsel on to his men. Once he had fallen asleep, his men impiously killed and ate some of the cattle. When the Sun god found out, he asked Zeus to punish them. Shortly after they set sail from the island, Zeus destroyed the ship and all the men died except for Odysseus. After ten days, Odysseus was washed up on the island of the nymph Calypso.
Estimated dispatch 7-14 working days
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£248.99
Odysseia - Maxime Aulio
Washed up on the Phaeacian shore after a shipwreck, Odysseus is introduced to King Alcinous. As he sits in the palace, he tells the Phaeacians of his wanderings since leaving Troy. Odysseus and his men fi rst landed on the island of the Cicones wherethey sacked the city of Ismarus. From there, great storms swept them to the land of the hospitable Lotus Eaters. Then they sailed to the land of the Cyclopes. Odysseus and twelve of his men entered the cave of Polyphemus. After the single-eyed giantmade handfuls of his men into meals, Odysseus fi nally defeated him. He got him drunk and once he had fallen asleep, he and his men stabbed a glowing spike into the Cyclop's single eye, completely blinding him. They escaped by clinging to the belliesof some sheep. Once aboard, Odysseus taunted the Cyclop by revealing him his true identity. Enraged, Polyphemus hurled rocks at the ship, trying to sink it. After leaving the Cyclopes' island, they arrived at the home of Aeolus, ruler of the winds.Aeolus off ered Odysseus a bag trapping all the strong winds within except one - the one which would take him straight back to Ithaca. As the ship came within sight of Ithaca, the crewmen, curious about the bag, decided to open it. The winds escapedand stirred up a storm. Odysseus and his crew came to the land of the cannibalistic Laestrygonians, who sank all but one of the ships. The survivors went next to Aeaea, the island of the witch-goddess Circe. Odysseus sent out a scouting party butCirce turned them into pigs. With the help of an antidote the god Hermes had given him, Odysseus managed to overpower the goddess and forced her to change his men back to human form. When it was time for Odysseus to leave, Circe told him to sail tothe realm of the dead to speak with the spirit of the seer Tiresias. One day's sailing took them to the land of the Cimmerians. There, he performed sacrifi ces to attract the souls of the dead. Tiresias told him what would happen to him next. He thengot to talk with his mother, Anticleia, and met the spirits of Agamemnon, Achilles, Patroclus, Antilochus, Ajax and others. He then saw the souls of the damned Tityos, Tantalus, and Sisyphus. Odysseus soon found himself mobbed by souls. He becamefrightened, ran back to his ship, and sailed away. While back at Aeaea, Circe told him about the dangers he would have to face on his way back home. She advised him to avoid hearing the song of the Sirens; but if he really felt he had to hear, thenhe should be tied to the mast of the ship, which he did. Odysseus then successfully steered his crew past Charybdis (a violent whirlpool) and Scylla (a multiple-headed monster), but Scylla managed to devour six of his men. Finally, Odysseus and hissurviving crew approached the island where the Sun god kept sacred cattle. Odysseus wanted to sail past, but the crewmen persuaded him to let them rest there. Odysseus passed Circe's counsel on to his men. Once he had fallen asleep, his men impiouslykilled and ate some of the cattle. When the Sun god found out, he asked Zeus to punish them. Shortly after they set sail from the island, Zeus destroyed the ship and all the men died except for Odysseus. After ten days, Odysseus was washed up on theisland of the nymph Calypso.
Estimated dispatch 7-14 working days
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£126.50Italian impressions - Angelo Sormani
"Italy is truly a magical land that has touched my heart beyond measure." These are the words describing the feelings that accompanied the various visits of the American conductor Wesley Broadnax in our country. Italian Impressions, a composition dedicated to Broadnax, portrays these feelings in three main sections that develop without interruption throughout the piece. The first section, "Magic Land," describes a trip to Rome and is a tribute to the splendor and magic of some of the venues in this city. Rich in historical and cultural significance, these places are moving because of their surprising architecture and artistic genius. The second part, "The Huge Castle," depicts his visit in the Umbrian Region. It is a reflective and suspended immersion in music that describes landscapes characterized by ancient houses, churches, courtyards, and squares. "Assisi," says Wesley, "is the city that glitters in the night sky, comparable to a huge castle!" The third part, "Medieval Ballad," is a reference to the city of Siena and Tuscany more generally. The main theme of this movement recalls medieval atmospheres and is based on the fourteenth-century ballad "Ecco la primavera" by Francesco Landino. The original material is presented, elaborated, and juxtaposed with new thematic motives, which lead to an energetic conclusion of the piece.
Estimated dispatch 7-14 working days
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£134.99Gulliver's Travels (Concert Band - Score and Parts) - Appermont, Bert
The book Gullivers Travels (1726) by author Jonathan Swift formed the provocation for writing this composition. Even though this composition isnt a literal representation of the original story, a number of elements were still retained. The ships doctor Gulliver finds himself in 4 (fictive) areas, each with their own inhabitants and customs. Each part of this suite also received the name of one of these areas:I. Lilliput The enterprising Lilliputians are represented by a playful, common theme in the first part.II. BrobdingnagIn the land of "Brobdingnag" Gulliver is carried off by gigantic giants, which you hear approaching with the sounds of the bassinstruments. The same theme is constantly repeated and quickened in order to increase the tension.III. LaputaLaputa is an island that floats in the air; its inhabitants are strange people with slanting heads. The dreamy, special atmosphere is especially well conveyed here.IV. The HouyhnhnmsFinally Gulliver finds himself in the land of the Houyhnhnms, where intelligent and noble horses rule over the primitive, undeveloped people (yahoos). The trumpets in the brilliant opening express the galloping horses; the gallant theme that follows (horns and trombones) symbolises the primitive yahoos. The whole composition ends with a big finale.I intentionally tried to limit the degree of difficulty of Gullivers Travels. Despite this I think that this work can appeal to many orchestras due to the colourful orchestration (cues are provided where needed), the simple and clear theme and the highly imaginative breeding ground of a beautiful story around which this composition is built." Duration: 8:00
Estimated dispatch 7-14 working days
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£134.99Gulliver's Travels - Bert Appermont
The book Gullivers Travels (1726) by author Jonathan Swift formed the provocation for writing this composition. Even though this composition isnt a literal representation of the original story, a number of elements were still retained. The shipsdoctor Gulliver finds himself in 4 (fictive) areas, each with their own inhabitants and customs. Each part of this suite also received the name of one of these areas:I. Lilliput The enterprising Lilliputians are represented by a playful, common themein the first part.II. BrobdingnagIn the land of "Brobdingnag" Gulliver is carried off by gigantic giants, which you hear approaching with the sounds of the bassinstruments. The same theme is constantly repeated and quickened in order to increase thetension.III. LaputaLaputa is an island that floats in the air; its inhabitants are strange people with slanting heads. The dreamy, special atmosphere is especially well conveyed here.IV. The HouyhnhnmsFinally Gulliver finds himself in the land of theHouyhnhnms, where intelligent and noble horses rule over the primitive, undeveloped people (yahoos). The trumpets in the brilliant opening express the galloping horses; the gallant theme that follows (horns and trombones) symbolises the primitiveyahoos. The whole composition ends with a big finale.I intentionally tried to limit the degree of difficulty of Gullivers Travels. Despite this I think that this work can appeal to many orchestras due to the colourful orchestration (cues areprovided where needed), the simple and clear theme and the highly imaginative breeding ground of a beautiful story around which this composition is built."
Estimated dispatch 7-14 working days
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