Results
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£53.95Residence of the Lords (The Medieval Castle) (Flexible Ensemble - Score and Parts) - Lopez, Victor
This version of Residence of the Lords by Victor Lopez is designed with maximum flexibility for use by any mix of instruments: wind, strings, and percussion, including like or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customisable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys. Lyrical and exciting, this original piece captures the essence of the feudal castle and residence of the lords during the Slavic period. A solid composition with simple melodic and rhythmic content and minimal technical demands that is both fun to play and guaranteed to sound full and mature even with limited instrumentation. Duration: 2.00
Estimated dispatch 7-14 working days
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£242.50Orpheus in Town, Dance Suite from (Concert Band - Score and Parts) - Rosenberg, Hilding - Johansson, Jerker
Dance Suite in Seven Movements. Op.75. Orpheus In Town. In 1936 the Stockholm Concert Hall was given its most distinguished artistic adornment, Carl Milles' Orpheus fountain. A Greek god lets his voice and the sounds of his lyre float over the rush and bustle of the big city far up in Ultima Thule. Two choreographers at the Stockholm Opera, Julian Algo and Vera Sager, had a brainwave. Why should Orpheus merely be a statue, a symbol of the beauty and inspiring power of music, why not give the myth about him its special Stockholm chapter as well? This is what happened: On the stage we see the columned facade of the Concert Hall and in front of it the statue group with Orpheus and the eight enraptured listeners. Suddenly the figures come to life, jump down from their pedestal and dance into the crowd at the marketplace. Orpheus, who is consumed by longing for Eurydice, begins looking for his beloved, first among other well-known sculptures in town, then in restaurants and nightclubs. At last he thinks he recognises her in a fashionable society woman and brings her to the Concert Hall. However, faced with the threat of having to spend her life in bronze at Orpheus' side, she runs away. She wasn't Eurydice after all. Or was she? For this ballet, which had its first performance at the Stockholm Opera in 1938, Hilding Rosenberg wrote vital and entertaining music in a style which is unusually to the point, and with a bright and strong orchestration. The music in the Dance Suite from Orpheus in Town is taken from the dance scenes at the nightclub: guests and a bartender perform, finally also Orpheus and his entourage. The suite consists of: 1. Rhythm of the Times (2.00); 2. Bartender's Dance (1.30); 3. Girl's Dance (1.00); 4. Dance of the Negress (2.30); 5. Trio Dance (1.30); 6. Tango (2.00); 7. Finale (1.30). Total duration: 14.00.
Estimated dispatch 7-14 working days
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£59.00Ascensions (Concert Band - Score and Parts) - Romeyn, Rob
Ascensions is an aggressive concert or festival work of unbridled energy and power! Ascending melodic themes and harmonic structures create tension, and are the basis for this creative and interesting composition. The melodic material is memorable and is shared throughout the entire ensemble, creating interest for the performer and listener alike. Contemporary harmonies, contrasting styles, dynamics, textures and the aforementioned "ascensions" create a dramatic and fresh compositional approach. This is musical adrenaline and excitement at its best! Duration: 3.15
Estimated dispatch 7-14 working days
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£85.00Under Spanstind (Concert Band - Score and Parts) - Torskangerpoll, Idar
Suite in Three MovementsThis piece of music is a commissioned work for Lavangen School band and their band music convention in 2019. The piece was performed under the mountain Spanstind (located far north in Norway) by a band consisting of approx 400 amateur musicians. The mountain Spanstind is 1457 meters high and drops into the valley Spansdalen below, an especially scenic venue.The composition is inspired by the sami joik (folk song) Ru?gu?ohkka, the song to Spanstinden. It is also inspired by the nature of the surroundings. Mvt 1 "Ro" (calmless) describes the feeling of calmness in the midnight sun. Mvt. 2 "Uro" (unrest) describes a scene of wind, snow, avalance and the big forces of nature. Mvt 3 "Storhet" (greatness) describes the feeling of greatness the nature has, and how we experience it as majestic and exalted.The piece can be played with the movements alone, or one can add the signals played by soloist(s) off-stage or in the back of the hall. The signals are to be played before, in between, and after the 3 movements. All instruments can be soloists. The soloist performs the signals rhythmically aleatoric, where each soloist repeats the signal 4 times in his or her own tempo. Signal 1 is played before Mvt 1, signal 2 is played between Mvt 1 and 2, signal 3 is played between Mvt 2 and 3, and signal 4 is played while the band holds the last note (long, use stagger breathing). after a while, all the soloists end on the same note and the music fade out.Duration: 6.30
Estimated dispatch 7-14 working days
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£100.00To Protect and Serve (Concert Band - Score and Parts) - Smith, Robert W.
Suite for the Heroes Among Us is a musical tribute from master composer Robert W. Smith to the everyday heroes that dedicate their lives to the care and protection of us all. The third movement To Protect And Serve is dedicated to the law enforcement professionals that serve our communities each and every day. This bold and powerful musical statement is appropriate for concert, festival and ceremonial use throughout the year. Combined with Fire and Heal (Mvts. 1 and 2), Suite for the Heroes Among Us is programmable and appropriate in every community in the world. Duration: 4.00
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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£295.00Enduring City (Concert Band - Score and Parts) - Glyn, Gareth - Noble, Paul
Enduring City was composed to celebrate the 300th anniversary of the founding of New Bern, the first permanent seat of the colonial government of the state of North Carolina. It was first settled in 1710 by Swiss and German immigrants under the leadership of Christoph von Graffenried and and John Lawson. The 2010 composition was commissioned by the New Bern 300th Anniversary Committee and the City of New Bern, to portray the city in terms of its history, its present and its optimism for the future; the North Carolina Symphony gave its first performances, in venues throughout the state. Its one continuous movement is in well-defined sections. Most of the musical themes derive from names of people and places connected with New Bern, using letters that are also note-names, omitting those which are not. For example, the opening trumpets spell out E-B-E-D for New Bern ('R' standing for Re, which is D in fixed-doh sol-fa notation) and B-C-G for Baron Christoph von Graffenried. They are answered by the orchestra's "John Lawson, Gent.", the name on the cover of the co-founder's A New Voyage to Carolina. Lawson's questing and adventurous character is then suggested, accompanied by a "Carolina" note-name theme; and, after the Graffenried theme on solo horn, the music of both men combines for their voyage, culminating (on trumpets and trombones) in the founding of New Bern. The story of Tryon Palace, central to the city's history, is represented by echoes of the various kinds of music heard at the Governor's residence - fife and drum bands, minuets and the slaves' "Jonkonnu" festivals from Africa, celebratory fanfares and fireworks; the section reaches a climactic ending when all are combined. After a peremptory interruption by the snare drum, the perky fife theme is transformed to portray the conflicts that visited New Bern over the centuries, alternating with a new "grief" theme, which - when sounded by strings alone - leads to music of reconciliation and then of the natural beauty of the city's surroundings. A steady, lively rhythm underpins the final section, confidence - in the present and for the future. Echoes of previous themes are heard, but the closing peroration is reserved for a majestic and joyous statement of the name of New Bern itself.
Estimated dispatch 7-14 working days
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£80.00Clarinet Concerto (The Fallen) (Clarinet Solo with Concert Band - Score and Parts) - Wilson, Jeffery
The three movements are 'Conflict', 'The Fallen' and 'Resolution', themes that are freely interpreted musically. In 'Conflict', the solo clarinet begins with an ascending figure based on octave leaps, while the accompaniment contrasts with marcato quavers and harsh dissonances. The melody features seventh intervals, and while the movement is marked 3/4 the accompaniment is often 6/8. This is more evident in the second theme where the clarinet line moves much more by step. The development takes these ideas and the cadenza comes from yet more conflict between the now calm clarinet and dissonant clashes in the accompaniment. 'The Fallen' is the slow movement and poignantly features notes from 'The Last Post' in the opening and a beautiful working of 'David of the White Rock' later on. The final movement 'Resolution' is a Rondo in 6/8, brighter but with hints of the initial conflict through the sevenths in the meno mosso sections which interrupt the flow. Another long cadenza takes short ideas from the piece before the work comes to a triumphant end with all four E notes across the whole range, echoing the beginning. Wilson set out to write a concerto for a versatile instrument and has found ways to exploit its capabilities while keeping tonal centre. There are frequent altissimo notes within all three movements. Wilson does use the very low notes, most notably in the cadenzas, but much of the work is high, presumably to allow the clarinet to carry over the wind band accompaniment. A good command of all notes right up to A sharp an octave above the stave is needed, plus technique to travel to and from altissimo notes (legato). The piece is around 25 minutes long. Printing is clear and the piano accompaniment comes as a spiral bound volume.
Estimated dispatch 7-14 working days
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£79.00The River and the Rock (The Tale of a City) (Concert Band - Score and Parts) - Shaffer, David
The River and the Rock depicts the rich history of Fitchburg, Massachusetts, settled in 1735. Each short movement paints a musical picture of the city's history, opening with "Beginnings," depicting a frontier that was settled very slowly as hostilities between England and France encouraged Indian bounty hunters to attack isolated garrisons in the region. "Patriots" suggests the city's call to arms throughout history. "Prosperity" visits the industrial revolution and the city's rapid growth at the turn of the 20th century. Movement IV and V, "Decline" and "Revival," offer a musical insight into the city's decline throughout the 20th century and rebirth in the 21st century. Exciting and emotional, "The River and the Rock" merges history and music into a setting that your students will enjoy preparing. Excellent selection for festivals and contests! Duration: 6.15
Estimated dispatch 7-14 working days
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£69.95Aylesbury Dances (Concert Band - Score and Parts) - Wiffin, Rob
The suite Aylesbury Dances was commissioned by the Aylesbury Concert Band to mark the occasion of their 25th Anniversary in 2019. Its three movements depict different aspects of Aylesbury: I. Pavane: The Town - Having read something of the town's history and its architecture I decided I wanted to write something ceremonial with the feel of music from Tudor times. Aylesbury was given its charter and borough status in 1554 by Mary Tudor so I took that as my starting point but then added some harmony that moves forward in time. This fits with the town's motto: Semper Prorsum (Always forward) and also with the Band's evolution from Aylesbury Town Band to Aylesbury Community Concert Band to Aylesbury Concert Band. The music can be defined as a pavane, or a cortege. The sense of procession is slightly disturbed by a 'Blue Leanie' moment. The Blue Leanie is an iconic Aylesbury building, an oblique rhombic prism which stands at an angle of 17% inclination. I took a quaver out of the time signature (I know the maths don't work!) to reflect this and added some bluer harmony at that point. This opening movement gives a sense of the grandeur and heritage of Aylesbury town and a chance for my friends from the brass section to warm up! II. Siciliana: Waterside - To balance the outer two movements, the middle movement of the suite has a slow lilting 6/8 rhythm. It is in the style of a Siciliana, a dance form originating in the baroque era. It is a graceful, tender and melancholic dance, cast here in a minor key and featuring the dark voice of the cor anglais. The Siciliana was often linked with pastoral scenes and Aylesbury itself sits amid some beautiful countryside. It may, therefore, seem a bit of a stretch to call this movement 'Waterside', especially as Aylesbury is so far from the sea, but the town has a theatre of that name and that was the genesis for this particular music. There is a statue of Ronnie Barker in the grounds of the Waterside theatre as he started his career in repertory theatre in Aylesbury, so I included a fleeting reference to the theme music of the comedy programme 'Open all Hours'. III. Frolic: Ducks in a Row - It was impossible to write a piece connected with Aylesbury without considering the famous Aylesbury ducks. Duck rearing was a major industry in the town in the 19th century. The white Aylesbury Duck is a symbol of the town, appearing on its coat of arms and in the logo of the Aylesbury Concert Band! This movement is all about trying to get the little darlings in a row so they can sing their 'Duck Chorus' together but they keep on scattering, flying off or swimming away as quickly as they can manage. It's a bit like watching ducks disperse when my dog jumps into the stream after them. Eventually we get more of them in a row - even though they protest. Hidden amongst the ducks is a reference to Erica Miller, saxophonist and chairman of the band, and there's even a veiled reference to a shark in the hope of getting them out of the water. Ducks in a Row is a fun romp bringing this suite of Aylesbury Dances to a suitably celebratory conclusion.- Rob Wiffin.Duration: 9.15
Estimated dispatch 7-14 working days
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