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£75.00Sonata - Derek Bourgeois
This work, composed in 1998, was commissioned by the American trombonist Don Lucas as a work for trombone and piano and first performed by him in Birmingham on 19th May 2000. Subsequently, I arranged the music for both solo trombone and brass band and solo trombone and wind band so that it now exists in three formats. The first movement, in B flat major, is brisk and energetic, and is cast in sonata form. The second subject is gentler and more lyrical. The second movement, a scherzo in C major, is the most complex of the four. Basically the structure is a rond. For a long time the music remains in the opening 5/8 time until a new theme introduces more broken rhythms in a more jazzy idiom. After a return of the opening theme the following episode is more tonally ambiguous. Finally, the main theme returns to round off the movement. The third movement, a lyrical adagio, is really one long extended melodic flow. The harmonies are lush and the textures simple and direct. The tonal center is A minor, but the music meanders through so many keys, that this key centre is heavily disguised. The finale is a fiery affair. G minor is really its home key, but throughout the movement the music moves about a lot and the second subject is first heard in A flat minor. The movement's underlying sonata structure is masked not only by its loose tonality but also by its frequently changing time signatures. Like the first movement the second subject is more lyrical in nature and for a while it seems that the music will end peacefully, but a final flurry heralds a triple forte unison on the home note of the first movement - B flat. Derek Bourgeois
Estimated dispatch 7-14 working days
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£121.00Third Vortex - Roland Barrett
From the creative pen of this talented young composer, we have Barretts latest contribution to the exciting contemporary literature for band. While not technically difficult, this work is extremely effective, as it presents four contrasting musical sections beginning with The Summoning, which opens with a very commanding tutti entrance that evolves into a quieter, mysterious section, then develops with a sense of urgency into a very strong dynamic ending. This is followed by Fear, a dramatic section with extensive use of percussion, leading to The Eye of the Vortex, beginning quietly, as it starts to develop to a great dynamic climax followed immediately by a serene quietness that leads to the final section, Fury, ending with a dramatic and furious finale. An exceptional, adventuresome new work!
Estimated dispatch 7-14 working days
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£91.99
Forged in Fire - Rob Romeyn
An epic programmatic piece, "Forged In Fire" is a work of vibrant energy, vivid color and immense power. It draws inspiration from the immense power and uses of fire, and its effect on early civilization and industrialization. A calm and sensitive introductions leads to a new theme at a quickening tempo. This theme, stated simply at first, is then embellished by a driving rhythm multi-meter effect, and further developed with layered contemporary harmonies, changing textures and variations on the theme. After a breathtaking climax, the original theme is restated, more powerfully this time. It then subsides, before building to a shimmering, red hot ending that will leave your audience breathless. Certain to become a mainstay for concert and festival use. Not to be missed!
Estimated dispatch 7-14 working days
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£154.90
Summer Dances - Adam Gorb
'Summer Dances' is a joyful work in three short movements celebrating my favourite season where people are happiest outdoors. Each movement is a celebration the first movement 'Summer Day' celebrates the open air, with a bold and arrogant melody in 10/8 time, whose rhythm dominates the movement. The next movement 'Summer Night' could be described as a 'Beach Habanera' led by a sensuous trumpet melody. The movement ends with an ambiguous harmonic build-up, which is resolved at the start of the finale 'Summer Party' with a folk like theme that is passed round the ensemble, building up, (with suggestions of the first movement theme) to a riotous and festive ending. Summer Dances was commissioned by HAFABRA Music, Louis Martinus in collaboration with Biblioservice Gelderland/Music department MUI, Arhnhem, the Netherlands. Regarding interpretation suggestions: Movement 1) Lively but not too fast very much a piece for the full ensemble, up until the final six bars when things become more subtle and intimate maybe sunset.... Movement 2) Very laid back and sexy. The movement should be thought of as a wonderfully promising 'first date' or 'wedding night', with great possibilities with the unresolved chord at the end of the movement.... Movement 3) As fast as is comfortably possible. The start should be delicate and chamber music like, but increase in general excitement, particularly from figure 31. Something should be saved up for a true fortissimo at 34.
Estimated dispatch 7-14 working days
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£72.95
Guardians of the Banner - Joseph Compello
A very nice original march from popular composer Joseph Compello, Guardians of the Banner contains many aspects of a traditional American march but with the developing student in mind. It has an extended introduction, a first strain, second strain, and a break strain followed by a return of the first strain to end the march. There is not the typical modulation to a trio section, making this march much more playable for this level of band. The march is at a more moderate march tempo and contains some really nice melodies, making it a great way to introduce this important style to younger students.
Estimated dispatch 7-14 working days
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£202.99Missa Tornacum - André Waignein
Flicien Doyen, the President of the Tornacum Royal Choir Circle of Tournai (Belgium) and a close friend of the composer commissioned this Mass. Missa Tornacum was originally composed for mixed choir and organ, gave a memorable performance of thepiece in the Chartres Cathedral in France.Although it does not include the Credo, the work is composed according to the traditional structure of a Mass in five parts : Kyrie, Gloria, Sanctus, Agnus Dei, and Ite missa est. En the first two parts, adialogue is created between the choir and the band. It is followed by the Sanctus cycle ("Sanctus" - "Hosanna" - "Benedictus"), which is remarkable for the contrasts between the tone colorscharacterizing each of its three parts. The fourth part,Agnus Dei, takes on a tone of serene intimacy. A free counterpoint draws this section to a close by fading into an almost imperceptible quietness. Ite missa est begins with a series of imitations, which develop into a majestic and cheerful passagemarking the end of the Mass. Choir parts are available separately.
Estimated dispatch 7-14 working days
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£68.99Requiem Aeternam - Giacomo Puccini
Giacomo Puccini was commissioned to write a second opera after the resounding success of his first, Le Villi. However, the original four-act, grand opera Edgar, to a libretto by Ferdinando Fontana, received a rather lukewarm reception at its premire in La Scala in Milan in 1889 - initially, the work was only performed three times. Of all the planned performances in the subsequent two years, only one took place, in Lucca, Puccini's birthplace. There, the work was well received. Nevertheless, the composer decided to make drastic changes to Edgar the most radical being the reduction of the opera to three acts, as well as altering a few arias, charactersand instrumental parts. In its revised form, the work was even less popular than before. The discarded fourth act later provided material for Tosca (the duet Amoro sol' per te), but Puccini never felt the need to defend Edgar - as he did other less fortunate operas, such as La Rondine and Suor Angelica. On a piano excerpt for his female friend Sybil Seligman he even corrupted the title to 'E Dio ti GuARda da quest' opera' (may God preserve you from this opera). This did not prevent Arturo Toscanini performing the Requiem from the third act at Puccini's funeral in Milan Cathedral on 3 December 1924. The Requiem in the third act is being played when the long funeral procession carries the alleged body of Edgar - the confusedyoung man hesitating between the love of the virtuous Fidelia and the exotic Tigrana. The mass hails Edgar as a hero, but a monk claims that he has betrayed his country for a few gold pieces. When the soldiers try to desecrate the body, they discover that the armor contains none. The monk reveals himself as Edgar. He wants to leave with his faithful Fidelia, but the vengeful Tigrana stabs him and kills Fidelia. Edgar grieves over the lifeless body of his beloved, while Tigrana is arrested and the people submerge into prayer.
Estimated dispatch 7-14 working days
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£159.99
Fantasia Per La Vita E La Morte - Bert Appermont
The mystique surrounding life and death formed the starting point of this composition. I wanted to write a work without a story, mixed up in a kind of musical quest for a new world of sound, original rhythm sequences, melodies filled with suspenseand distinct orchestral tones.The indirect cause was the birth of my first child which took place during this time, followed by the death of a close family member. At such a moment you experience just how close life and death are to each other, anddespite one being the antithesis of the other, they are incredibly similar. Both radical events are passages into new worlds and have great emotional impact. Moreover, the work was commissioned by "New Life", an orchestra that lost one of itsmusician in a plane crash, which also led me to believe that this approach would be appropriate.I would prefer not to comment on which passages in the composition concern life (birth) and which refer to death. It seems to me that it is moreinteresting to question traditional conceptions and leave it open for the listener. If you think that a passage is about birth, and this idea then shifts, it is this that raises fascinating questions, on both a musical and metaphysical level.Music isin an indirect but incredibly persuasive way in which to express the endless striving and seeking of mankind. Music can even touch eternity, as it were, and give us the feeling that we can transcend death. This endless search (and also longing) canbe heard throughout the work; as much in the sound fields and accent shifts in the first part as in the enormous tension curves and compelling themes of the second part. The semi-tone functions in this way as a guide or something to hold on to,running through the whole work and upon which much of the musical material is based. Traces of profound love resound with quiet simplicity in the slow section's melodious solos, after which the work contemplates life and death one last time, musesupon joy and sadness, on the possibilities and limitations of people and on the why of all things.I would like to dedicate this work to my dearest daughter Paulientje, to Meterke and to Johan de Jong of the "New Life" orchestra. May it fare themwell, here or in another dimension...
Estimated dispatch 7-14 working days
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£274.99Symphony No. 2: States Of Mind, Opus 87 - Teo Aparicio-Barberán
I- Logos (reason)II- Pathos (emotion)III- Ethos (credibility)The ancient Greeks believed that music shaped the character of man. In Egyptian temples, music was an essential part of the magical rites to alter the course of nature or to treat illness.And today we know that sound can actually alter matter. The secret of music lies in harmony and mathematics, as many great musicians and experts have always known.One of the most important qualities of music is that it enables the listener to focushis attention inwards instead of on what is around him. It is indisputable that music can inspire emotion. Music leads us into a universe of emotions that are difficult to put into words. In short, music reaches into corners of our soul and thoughtsthat words cannot reach and makes it possible to more clearly describe these different States of mind.The composer of this symphony also believes that each "musical argument" must be constructed so that it will induce the desired reaction in thelistener.Music: more than wordsIn recent times, most orchestral symphonies have been based on a story, a text or something similar so that their composition must be structured accordingly.The intention of this work by Teo Aparicio-Barbern is quitedifferent. The composer describes the three elements of the argument as the only formal structure of the work. Since certain philosophers in world history were able to subdivide grammatical argument, why shouldnt that also be possible for the musicalargument?Since ancient times the power of the spoken word has captivated mankind. How can an argument move people and mobilise the masses? Where does the power of words come from today? The answer lays not so much in what people say but in how theysay it.Rhetoric is one of the oldest humanist disciplines in Western civilisation. Aristotle, in the 4th century BC, called it the art of persuasion. Indeed, the terms rhetoric and persuasion are mutually interchangeable.More than 2000 years agoAristotle structured his rhetoric according to the following three elements: the logos, the pathos and the ethos.Logos (words, reason) is the reasoning that gives freedom to the structure of the text by expressing what one wishes to say usingspecialist terms. With logos we create arguments to receive public approval and to defend our ideas.Pathos, the second element, refers to the effective use of public psychology. Pathos can be considered as the capacity to induce the desired emotionalresponse in the public, by creating an emotional connection with the public so that they accept our message.The third element, ethos (credibility), refers to the character of the speaker and is perhaps the most important of the three elements.Aristotle based his concept of ethos upon his belief that truth and justice will always have the upper hand over anger. He believed that what was true and good was easier to prove and was more persuasive.This second orchestral symphony from thecomposer from Enguera follows these three parameters of the argument according to Aristotle. Each movement tries to summon a different state of mind in the listener so that the message itself can be better understood and appreciated. Apart from thesethree general concepts the music is only structured, as Claude Debussy would say, in a "formative way".The first movement, logos, is based on a scherzo melody that undergoes various changes in rhythm and harmony. The arguments are presented by meansof conventional techniques of composition. The second movement, pathos, is characterised by suggestions of sound. It is subdivided into two large parts. The first part is based on a five seven sequence with five sounds that are repeated in differentenvironments, structures and dynamics. The second part, which is largely tonal, brings out more directly the emotional overtones that each argument must have. The third movement, ethos, is a faithful rendition of the composers personality. In thislast part, clear rhythmic sequences stand out, there are large dynamic contrasts and lots of tone variation. In addition, and this is quite in keeping with the composers earlier work, the harmony in States of Mind is handled in a manner that is bothoriginal and efficient, as a result of which Aparicio-Barberns message is well understood by the listener.This second symphony by Teo Aparicio-Barbern is devoted to "my dear Henrie Adams, a guiding light in this eternally dark musical world. Thankyou for everything."
Estimated dispatch 7-14 working days
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£149.99Suite Provenale - Jan Van der Roost
This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the "Provence". The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some "spicy" notes (... just like the wellknown "Provenal sauce"! ...). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section.Every movement has its own character: "Un Ange a fa la crido" (= An angel brought the creed / credo) is like a bourre, "Adam e sa Coumpagnou" (= Adam and his companion) is an old love song, "Lou Fusti" (= the carpenter)a fast dance and finally "Lis Escoubo" (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention.
Estimated dispatch 7-14 working days
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