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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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£60.5021 Guns
With a unique twist, this Green Day rock ballad from their compact disc is among their most stunning works. The collections of songs on the CD tells a story of love and faith in America in the format of a "punk rock opera." In a comfortable range, Jason Scott joins our writing team, bringing this driving hit right to your band room while retaining the series limitations. Innovative and driving!
Estimated dispatch 3-5 working days
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£55.50Clarinet Cookin' - Michael Story
It's a little bluesy, it's got attitude, and it's a wonderful way to feature all those clarinet players. The whole ensemble will get in the groove. This is a very solid introduction to a popular-sounding selection. The dynamics and articulations are clearly marked. Listen to your clarinets sizzle! (2:18)
Estimated dispatch 3-5 working days
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£50.50Battle Creek March - Michael Story
After a quiet and subdued opening, layered sonorities build a flow to a forceful, tutti conclusion. There are no surprises and the degree of difficulty is a secure grade 1. This march will serve as a fresh opener for your next concert or contest appearance. (1:45)
Estimated dispatch 3-5 working days
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£66.95Sousa Palooza - John Philip Sousa / arr. Michael Story
During his career, Sousa composed more than 130 marches with a wide variety of styles. contains only nine! Can you name them all? Musical fragments of these cherished marches are masterfully combined with traditional fervor and even a bit of musical humor. A wonderful opportunity to program a work that embraces so much of the contemporary concert band's musical heritage. Bravo! This title is available in MakeMusic Cloud.
Estimated dispatch 3-5 working days
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£56.50Awaken the Giant - Joel Spineti
This whimsical offering represents a story about a young boy who is chosen to confront a giant in order to learn his secrets. The textures and lilting rhythms create a fairy-tale soundscape sure to delight the performers and audience. (3:15)
Estimated dispatch 3-5 working days
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£60.50Pentagram - Michael Story
A pentagram is a five-sided star that has been a symbol believed to contain supernatural or spiritual properties. There's nothing supernatural about this tremendous introduction or reinforcement of 5/4 time for your developing band. Cast in a bold overture style, your students are able to easily grasp the time signature. Featuring a variety of styles and textures, this dynamic composition builds to a bold punctuated conclusion. (3:15)
Estimated dispatch 3-5 working days
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£233.99Colores (Concert Band - Score and Parts) - Van der Roost, Jan
Colores is Spanish for colours, a word which this composition seeks to reflect and build itself upon. Musical colours, timbres, sounds, soft and sharp colour tones, sonorous effects... they are all present in this work. It is an abstract composition: completely lacking a story, scenario or any programmatic inspiration to guide the notes. The music speaks for itself. All sections are featured within a hugely varied work that demands a lot from the players. Pull out all the stops to produce the best possible result!Duration: 13.45
Estimated dispatch 7-14 working days
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£75.00Good King Wenceslas (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
Good King Wenceslas is a Christmas carol that tells a story of a Bohemian king going on a journey and braving harsh winter weather to give alms to a poor peasant on the Feast of Stephen (December 26, the Second Day of Christmas). During the journey, his page is about to give up the struggle against the cold weather, but is enabled to continue by following the king's footprints, step for step, through the deep snow. The legend is based on the life of the historical Saint Wenceslaus I, Duke of Bohemia or Svat Vclav in Czech (907-935). The name Wenceslas is a Latinised version of the old Czech language Venceslav. In 1853, English hymnwriter John Mason Neale wrote the Wenceslas lyrics, in collaboration with his music editor Thomas Helmore, and the carol first appeared in Carols for Christmas-Tide, 1853. Neale's lyrics were set to the melody of a 13th-century spring carol Tempus adest floridum (The time is near for flowering) first published in the 1582 Finnish song collection Piae Cantiones. This arrangement represents one in the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
Estimated dispatch 7-14 working days
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