Results
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£152.99In Memoriam: For the Fallen (Narrator with Concert Band - Score and Parts) - Sparke, Philip
In Memoriam: For the Fallen was commissioned by Bolsover District Council for the Bolsover Brass Summer School 2014. It is a setting for narrator and band of Laurence Binyon's (1869-1943) poem, For the Fallen, which was first published in The Times in September 1914. Binyon was dismayed at the outbreak of war and especially concerned by the large number of casualties suffered by the British Expeditionary Force in the early months of the battle on the Western Front. Too old to enlist, he volunteered as a hospital orderly in France. The poem is known world-wide as the famous fourth stanza (They shall grow not old...) has become a regular part of Remembrance Day and ANZAC Day services. In Memoriam: For the Fallen is a musical accompaniment to the poem, shadowing the mood of each stanza.Duration: 7.30
Estimated dispatch 7-14 working days
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£39.95Keep the Faith (Concert Band - Score and Parts) - Stubbs, Duncan
The composer writes: This piece originally started as a personal tribute to my late mother. Not long after writing the opening ideas, I was approached to write music to accompany a rendition of the poem, 'We Will Keep the Faith' by Moina Michael for performance as part of the 100th anniversary of the start of World War One. The appropriateness of the music already written, and the sentiment behind both concepts, was a coincidence too good to overlook. Rarely sentimental and always practical, I feel sure my mother would be delighted that the music she originally inspired was being used to portray a much wider universal message of remembrance.
Estimated dispatch 7-14 working days
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£5.95
Keep the Faith (Concert Band - Score only) - Stubbs, Duncan
The composer writes: This piece originally started as a personal tribute to my late mother. Not long after writing the opening ideas, I was approached to write music to accompany a rendition of the poem, 'We Will Keep the Faith' by Moina Michael for performance as part of the 100th anniversary of the start of World War One. The appropriateness of the music already written, and the sentiment behind both concepts, was a coincidence too good to overlook. Rarely sentimental and always practical, I feel sure my mother would be delighted that the music she originally inspired was being used to portray a much wider universal message of remembrance.
Estimated dispatch 7-14 working days
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£11.95Shout! (Trombone Solo with Concert Band - Score only) - Wiffin, Rob
Shout! was written for Brett Baker to demonstrate a particular musical aspect of his trombone playing. It is a Latin jazz piece subtitled CCC 4 BB - Cha cha cha for Brett Baker - and shows the trombone's ability to act as a declamatory jazz voice, covering much of the range and expressive power of the instrument. In one sense the title also refers to the jazz tradition of a Shout chorus which often appears towards the end of a jazz piece, bringing the players together after they have all taken their improvised solos.Shout! should hopefully be enjoyable to listen to and, although not without its technical challenges, fun to play.Duration: 3.45
Estimated dispatch 7-14 working days
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£59.95
Shout! (Trombone Solo with Concert Band - Score and Parts) - Wiffin, Rob
Shout! was written for Brett Baker to demonstrate a particular musical aspect of his trombone playing. It is a Latin jazz piece subtitled CCC 4 BB - Cha cha cha for Brett Baker - and shows the trombone's ability to act as a declamatory jazz voice, covering much of the range and expressive power of the instrument. In one sense the title also refers to the jazz tradition of a Shout chorus which often appears towards the end of a jazz piece, bringing the players together after they have all taken their improvised solos.Shout! should hopefully be enjoyable to listen to and, although not without its technical challenges, fun to play.Duration: 3.45
Estimated dispatch 7-14 working days
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£110.00Mekong (Concert Band - Score and Parts) - Smith, Robert W.
Mekong is a river that flows through the heart of Vietnam. Robert W. Smith has created this composition for band based on the Mekong River delta's historic significance during the Vietnam War of the 1960s and 1970s. Beautiful and haunting melodies, lush and dissonant harmonies and acoustically created sound effects combine to provide a concert performance experience that will not be forgotten by performer or audience. This piece completes a compositional journey the composer began in Korea to honor his father and those who served in Southeast Asia. Mekong is highly recommended as a concert showcase and is an emotionally moving tribute to the military veterans of the Vietnam War.Duration: 9.15
Estimated dispatch 7-14 working days
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£60.99Song for Hope (Concert Band - Score and Parts) - Sweeney, Michael
Written as a memorial for a middle school band student, this sensitive and moving work opens with a chorale played by off-stage brass. A flowing melody stated in the low register is then developed before leading to a brief fanfare-like affirmation. The Korean folk song "You and I" is briefly quoted before returning to the off-stage brass and calm closing passage. A beautifully scored lyric piece for band. Extra players are not required for the off-stage parts.Duration: 4:30
Estimated dispatch 7-14 working days
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£104.95Czardas (Concert Band - Score and Parts) - Hart, Paul
Some time ago Charles Hine, a dear friend, asked me 'Isn't it about time you wrote a Czardas?' It wasn't such a silly idea. I'd studied violin as a child and having learnt numerous show pieces in that style I felt quite at home with the genre. Later in my youth I was lucky enough to work occasionally as accompanist to a lovely lady & singer Eve Boswell, who was partly Hungarian, and was generous enough to give me further insight into the nature of Czardas. Whilst the Wind Ensemble is not the instrumentation one might expect for such a piece the form is albeit rather more long-winded than some of the fiddle 'lollypops'.' - Hart, Paul.
Estimated dispatch 7-14 working days
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£20.95
Czardas (Concert Band - Score only) - Hart, Paul
Some time ago Charles Hine, a dear friend, asked me 'Isn't it about time you wrote a Czardas?' It wasn't such a silly idea. I'd studied violin as a child and having learnt numerous show pieces in that style I felt quite at home with the genre. Later in my youth I was lucky enough to work occasionally as accompanist to a lovely lady & singer Eve Boswell, who was partly Hungarian, and was generous enough to give me further insight into the nature of Czardas. Whilst the Wind Ensemble is not the instrumentation one might expect for such a piece the form is albeit rather more long-winded than some of the fiddle 'lollypops'.' - Hart, Paul.
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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