Results
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£60.50The Oregon Trail (Concert Band - Score and Parts) - Story, Michael
The history of America was written by the pioneers who braved all the elements and hardships they faced on a daily basis. In a salute to those men and women who began their trek near Independence, Missouri, and ended it at the Columbia River region of Oregon, Michael Story brings us a sound portrait of this very important pathway. With bold sonic strokes from the winds and percussion, the work moves with energy and drive. This is an important contribution to the concert and contest literature for the young concert band.Duration: 4.45
Estimated dispatch 7-14 working days
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£139.99Pacific Dreams (Concert Band - Score and Parts) - De Haan, Jacob
Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this old colonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams. Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrow streets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters around Sydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan of Hawaiian music. Maybe he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metro at Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso: Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, he wants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasising about Hawaii and Tahiti.Andante Lamentoso: In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro: Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is travelling on to Hawaii. Or is it home, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.Duration: 9:15
Estimated dispatch 7-14 working days
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£64.99The Festive Season (Concert Band - Score and Parts) - Curnow, Paul
Colourful lights, shining candles, sparkling bulbs, gifts beautifully wrapped and friends coming to visit. And with the friends come music, merry singing and joyous carols resounding through the house. When you think about and sing along to Good King Wenceslas and God Rest You Merry, Gentlemen, you can scarcely sit still. Then when Jingle Bells is heard, it seems as though you should stand and dance while singing. It is the Festive Season!Duration 2:15
Estimated dispatch 7-14 working days
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£164.99To Bind the Nation's Wounds (Concert Band - Score and Parts) - Curnow, James
This work has been dedicated to the victims and survivors of the bombing of the Murrah Federal Building in Oklahoma City, on April 19, 1995. To Bind the Nation's Wounds seeks to portray, through music, some of the emotions and thoughts associated with the hours and days surrounding this terrible act. In writing this piece James Curnow sought to emphasize the inspiring courage and faith shown by the people of Oklahoma as they bonded together and responded to the stark cowardice and terror that confronted them.Duration: 9.00
Estimated dispatch 7-14 working days
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£137.95Sinfonietta No.1 (Concert Band - Score and Parts) - Sparke, Philip
Sinfonietta No.1 was commissioned by the Foundation of Friends of the Marine Band of the Royal Netherlands Navy. It was first performed by them in 'De Doelen', Rotterdam on the 13th November 1990 (in a joint concert with the Royal Marines Band from Great Britain) which celebrated the 325th anniversary of the Netherlands Marine Corps and coincided with the 45th anniversary of the band and the 175th anniversary of naval music in the Netherlands.The work is in three, linked movements:I: OvertureSeveral contrasting motivic ideas open the work, but none manage to develop into a theme of any sort. Eventually a short theme appears on clarinet, alto saxophone and horn but it is swept away by runs of triplets from the woodwinds. The theme returns, accompanied by the triplets from the woodwinds. The theme returns, accompanied by the triplets, and this leads to a return of the opening material to close the movement.II: AriaThe second movement opens with violent outbursts from the timpani until a simple, mournful tune is presented by flute and bassoon over a sparse accompaniment by the lower brass. Trumpets introduce a quicker, turbulent central section but this leads back to a brief repeat of the original tune, bringing the movement to a peaceful close.III. ScherzoThe final movement is a fast and furious scherzo which bursts into life with a flurry of notes. The vivacious main (woodwind) theme is first played by the flutes and then by the whole woodwind section. A cornet then takes centre stage with a fanfare-like theme which is then taken up by the brass. A bridge passage then leads to a version of this theme for full band. The original flute tune is then developed until the horns introduce a chorale tune which is taken up by saxes and then full band until the opening material reappears. The woodwind and brass themes are then combined and lead to a forceful version of the chorale which becomes more and more dissonant until the opening of the Overture returns to bring the work to a rousing finish.Recorded on QPRM134D THE KINGS GO FORTH, Central Band of the Royal Air Force
Estimated dispatch 7-14 working days
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£174.99Et in terra Pax (Concert Band - Score and Parts) - Van der Roost, Jan
This piece was commissioned by the Concert Band Vlamertinge and is a plea for peace: the title translates as Peace on Earth. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words Et In Terra Pax, an appeal for peace, at first jumbled together but later more rhythmically structured, developing into synchronized massed voices. The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the first explosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently coloured sound: the words Et in Terra Pax bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming chorale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words Et in Terra Pax are repeated again and again by the rest of the ensemble. The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too.Duration: 13:45
Estimated dispatch 7-14 working days
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£154.99Poet and Peasant Overture (Concert Band - Score and Parts) - Suppe, Franz Von - Takahashi, Tohru
Preludes and overtures were often written to set the mood of Viennese folk plays and therefore might be used for more than one production. Such was the case for Poet and Peasant, which introduced a comedy of the that name in 1846. The piece had already been heard as the overture to the play Lots of money, short of sleep and may also have prefaced two other plays. This overture did not belong to an opera until several years after its 1845 composition date. The themes from this overture are among the most often quoted material for comic effects for stage productions and animated cartoons. Probably, they represent, in sound, an era of nostalgia from the old-time park band concerts and are familiar to audiences of all age groups. This composition deserves to be heard in its original context as a serious, but highly entertaining, selection.Duration: 10:15
Estimated dispatch 7-14 working days
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£132.00Madurodam (Concert Band - Score and Parts) - De Meij, Johan
Madurodam is a small scale miniature town at Scheveningen (near The Hague) and is since many years one of the most important tourist attractions of the conurbation of Western Holland (called Randstad). On a scale 1:25 a charming picture of The Netherlands is given in bird's eye view: several important buildings, churches and townscapes are reconstructed up to the smallest details. There is also a fine transport system: a network of railroads, harbours and motorways covers the park and Madurodam Airport enables air traffic with all continents. The miniature suite Madurodam consists of eight short parts presenting a musical impression of the smallest town in The Netherlands.Reveille the piccolo flute and the side drum announce a new dayToy Soldiers there is a military parade in front of the George Maduro BarracksBinnenhof/Buitenhof a solemn melody is the main theme of the suite and depicts the state buildings and the nearby lake Hofvijver at The HagueSmall Windmills everything that moves or whirls at Madurodam is described in this barrel organ waltzIntermezzo/Nocturne Madurodam by night is described by a solemn passage played in unison by the lower instrumentsThe Westerkerk Church also the capital Amsterdam is represented with the chimes of the famous Westerkerk churchThe Muiderslot Castle an elegant pavane recalls medieval atmospheresGrande Finale the windmill theme comes back and then the suite comes to an end with the Binnenhof theme, decorated by the first strains of the national hymn, Wilhelmus.Duration: 9.15
Estimated dispatch 7-14 working days
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£149.99Nemu-Susato (Concert Band - Score and Parts) - Van der Roost, Jan
Commissioned by the Japan Band Clinic Committee of Yamaha for the Nemu Band Directors Clinic in Nemu no Sato, May 18-20, 1997. The surprising title of this work is an indication of its content. By combining the somewhat similar names 'Nemu no Sato' and 'Susato' into a new word, Jan Van der Roost has produced a significant and interesting subject. The Yamaha corporation has extensive facilities in Nemu no Sato, Japan, including a concert hall, recording studios, hotel and so on. Concerts, workshops, clinics and other events are held here, including the annual Nemu Band Directors Clinic, which consists of numerous musical events. Jan Van der Roost served as guest conductor and speaker in 1994. He was invited again for the 1997 clinic, this time with a composition assignment. The difficulty level of his piece was to be Grade 2 - 3 bands. With this in mind, Mr. Van der Roost strove to create a renaissance-like sound. Simultaneously he wished to create a tribute to Tielman Susato who, like Jan Van der Roost, lived and worked in Antwerp in the 16th century. The first performance of Nemu-Susato was conducted by the composer, performed by the Tokyo Metropolitan Police Band, and took place during the Nemu Band Directors Clinic on May 19, 1997.Duration: 6.00
Estimated dispatch 7-14 working days
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£164.95Euphonium Concerto (Concert Band - Score and Parts) - Ellerby, Martin
This Euphonium Concerto was written between late 1994 and early 1995 in response to a commission from Steven Mead to whom the work is dedicated. It is cast in four movements and lasts a little over 22 mins:I. Fantasy: After the briefest of introductions, the solo euphonium enters with the key melodic phrase of the movement in a fast 'Tempo I'. This idea is developed up to the point where a slower 'Tempo II' breaks the argument - here the mood is reflective but it is only to be a brief interruption as 'Tempo I' returns very quickly. The opening material is then subjected to further transformation with 'Tempo II' making occasional returns en route, the distances between the contrasting tempi becoming ever closer, and the movement closes in a rather soft though definite manner.II. Capriccio: This relatively short presto movement forms a bridge between the first movement and the work's slow movement. The majority of the band parts are bright and muted with the percussion players enhancing the texture with contributions from xylophone, glockenspiel and vibraphone. Again the initial solo euphonium phrase provides the basis for almost all the movement's material. This is extremely virtuosic for the soloist and band alike and makes great play of the rhythmic possibilities of combining simple and compound music either in close proximity or together.III. Rhapsody (for Luis): A Lento movement, sitting between two different but essentially rapid ones, this provides the work's emotional core exploiting the soloist's cantabile qualities in an almost seamless fashion. Again, as will all the work's movements, the initial idea paves the way for subsequent development, eventually culminating in a passionate climax; thereafter it winds down with an affectionate backward glance towards the close of the the slow movement of the Euphonium Concerto of Joseph Horovitz, whose mark had been made indelibly on the euphonium repertoire. This movement is dedicated to Luis Maldonado who set the full score of the brass version before his untimely death.IV. Diversions: The work's variation finale is cast in 3/4 throughout though the barline is often a guideline and was seen by the composer as a challenge of metrical restraint! There is an obvious jazz feel to this movement (both rhythmically and harmonically) with a swaggering ritornello theme first announced by the solo euphonium. Thereafter follows a series of interludes and 'adjusted' returns of the main theme. A lyrical idea is allowed to enter but the underlying momentum is ever present. The band also contributes to the interludes and eventually the tempo increases towards a 'wild' and absolute conclusion.Duration: 22.30Recorded on QPRM143D Dreamscapes, Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
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