Results
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£2.25The Poppy Red (Upper Voices Vocal Score) - Park, Owain
Commissioned by the Military Wives Choirs to commemorate the centenary of 1918, the end of the First World War. The Military Band Accompaniment is available separately - NOV167387To mark the centenary of the end of World War I, the Military Wives Choirs - 69 choirs from across Britain and abroad - commissioned Owain to write a piece for their album, 'Remember'. The text for Owain's work, 'The Poppy Red', is inspired by the 1918 poem 'We Shall Keep The Faith' by Moina Michael, itself inspired by John McCrae's 'In Flanders Fields'. The recording brought together 1105 voices with The Band of the Household Cavalry, conducted by Hilary Davan Wetton.
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C-minor BWV 582 - Johann Sebastian Bach
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord.
Estimated dispatch 7-14 working days
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£149.99
Jello, The Colours Of My Soul - Ben Haemhouts
Jello...The Colours of my Soul is an assignment that was written to be a lasting memory of the untimely, dramatic death of a young child. The work came about due to various conversations between the father and the composer whereby the final resultmust be seen as an attempt by the composer to musically translate the feelings of the parents.The first part of the title, "Jello", is a combination of the names of the two children of the commissioner, namely Jelle and Lobcke, and "the Colours of mySoul" are the colours of the soul of the parents who despite the loss of one of their children, continue to cherish their two children. The introduction provides the atmosphere of grieving for the loss, whereby use is made of pure fifths in order toportray the solidarity with nature, as we are familiar with in symphonies by Bruckner. A little later a bit of the first theme is suggested, which develops into a real funeral march.The Dies Irae, as this occurs in Berlioz's Fantastic Symphony (F, E,F, D, E, C, D), forms a leitmotiv through the entire work in order to symbolise the constant battle between life and death.Shortly before the storm-passage, (where a wind machine is used) which announces disaster, fragments from children's songs areplayed to the accompaniment of a rising choir piece from behind the stage, which strengthens the imminent confrontation with death.After the introduction of the two themes in the long introduction, a quick passage follows in which all kinds ofbeautiful memories are recalled. There is story telling, laughing, and dancing. One of the previous children's songs is also cited. The Dies Irea is heard once again, this time short and fast.Bit by bit happy elements are steadily distorted untilseriousness breaks through again, like an unavoidable and unstoppable evil. The entire piece becomes evermore stirring, as if a big climax will follow. At this moment a very long fermata makes a sudden end to the hysterical allegro. The crucialmoment in the work follows...How does one deal with something as tragic as the death of one's own child? Does one mourn for what no longer is and what never will be? Or does one try to cherish the beautiful moments and continue to live with thesecolourful memories?A subdued, dignified choir piece captures the beautiful memories and ends in a positive, hopeful tone.
Estimated dispatch 7-14 working days
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£49.95A Life Well Lived (Concert Band - Score and Parts) - Wiffin, Rob
A Life well lived was commissioned by the Morrish family in 2023 on the death of Ian Morrish. It is dedicated to them with the inscription in loving memory of Ian.I knew Ian from early days at Southall Citadel Salvation Army Corps and then our paths crossed again briefly when I joined the Central Band of the Royal Air Force. Ian had been a euphonium player in the band for many years and was about to leave to take up a teaching post in Surrey. He was always very involved in choral music, conducting choirs throughout his life. I therefore wanted to keep this piece song-like and actually started with the song which appears from letter D to the end, which can always be performed on its own. From there I used the rising octaves that introduce the song to form the beginning of the work, with the feeling in the back of my head of a river starting to flow. There is nothing referential in the more dramatic sections towards the beginning, but every life has its dramas and I wanted something to give some balance to the tranquil nature of much of the piece. In the middle of the work I use a little motif taken from a song I remember Ian singing in his floating tenor voice. I develop the motif a little as an accompaniment to a new line which has, for me, a sense of purpose and directness and has an oblique reference to the RAF March Past. This builds to the aforementioned song and from there the music flows with its highs and lows to its peaceful conclusion.- Rob WiffinDuration: 3.30
Estimated dispatch 7-14 working days
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£118.99Cats (Songs from the musical) (Concert Band - Score and Parts) - Lloyd Webber, Andrew - De Meij, Johan
The musical Cats, with music by Andrew Lloyd Webber is based on the 1939 poetry collection Old Possum's Book of Practical Cats by T.S. Eliot. It became Lloyd Webber's third great success, after the musicals Jesus Christ Superstar and Evita. He began setting Eliot's poems to music in 1977, and the compositions were first presented as a song cycle in 1980. Producer Cameron Mackintosh then recruited director Trevor Nunn and choreographer Gillian Lynne to turn the songs into a complete musical. Cats became one of the longest-running shows in West End and Broadway history. It received its world premiere at the New London Theatre in 1981, where it played for 21 record-breaking years and almost 9,000 performances. The following year, Cats opened at New York's Winter Garden Theatre, its home for the next 18 years, garnering seven 1983 Tony Awards, including Best Musical. The show returned to Broadway in 2016, where it had a successful pre-tour run at the Neil Simon Theatre. Cats has been presented in over 30 countries, translated into 16 languages, and seen by more than 73 million people worldwide. Lloyd Webber's magnificent musical score includes the poignant hit song Memory, which has been recorded by over 150 artists, from Barbra Streisand to Liberace to Barry Manilow. It took 7,486 chandelier crashes for Lloyd Webber's The Phantom of the Opera to take over from Cats as the longest-running show in Broadway history in January 2006.Duration: 8.15
Estimated dispatch 7-14 working days
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£171.00Passacaglia and Fugue in C minor BWV 852 (Concert Band - Score and Parts) - Bach, Johann Sebastian - Cesarini, Franco
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord. Duration: 12.45
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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£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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£48.95More Cowbell (Cowbell Feature with Concert Band - Score and Parts) - Williams, Mark
More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: "slit throat" gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new "rock star" takes another bow at the end of the piece. Have fun, and may your life always have more cowbell! Duration: 2.00
Estimated dispatch 7-14 working days
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£124.95SWORD AND THE CROWN, The (Prestige Concert Band - Score and Parts) - Gregson, Edward
In 1988 I was commissioned by the Royal Shakespeare Company to write the music for The Plantagenets trilogy, directed by Adrian Noble in Stratford-upon-Avon. These plays take us from the death of Henry V to the death of Richard III. Later, in 1991, I wrote the music for Henry IV parts 1 and 2, again in Stratford. All of these plays are concerned with the struggle for power (the crown) through the use of force (the sword) and they portray one of the most turbulent periods in the history of the British monarchy.This work quickly became established in the mainstream repertoire and has received performances worldwide as well as five commercial recordings and many broadcasts. In 2002 I was approached by the Parc and Dare Band regarding their summer festival and commissioned to do a version for brass band. This was given its first performance in Treorchy Hall by the combined bands of Black Dyke and Parc and Dare conducted by Nicholas Childs.When the Royal Air Force Music Services commissioned me to write a work especially for their British tour in 1991 I immediately thought of turning to this music and transforming some of it into a three-movement suite for symphonic band.The first movement opens with a brief fanfare for two antiphonal trumpets (off-stage), but this only acts as a preface to a Requiem aeternam (the death of Henry V) before changing mood to the English army on the march to France; this subsides into a French victory march, but the English army music returns in counterpoint. Finally, a brief reminder of the Requiem music leads to the triumphal music for Richard Plantagenet, Duke of York, father of Edward IV and Richard III (the opening fanfare transformed).The second movement takes music from the Welsh Court in Henry IV (part 1) which is tranquil in mood; distant fanfares foreboding battles to come are heard, but the folktune is heard three times in different variations and the movement ends as it began with alto flute and gentle percussion.The final movement starts with two sets of antiphonally placed timpani, drums and tam-tam, portraying the 'war machine' and savagery of battle. Trumpet fanfares and horn calls herald an heroic battle theme which, by the end of the movement, transforms itself into a triumphant hymn for Henry IV's defeat of the rebellious forces.- Edward GregsonPerformance time 13'54"Recorded on QPRM117D FESTIVAL OF MUSIC 1991, Massed Bands of the Royal Air ForceRecorded on QPRM120D THE SWORD AND THE CROWN, Central Band of the Royal Air Force'Finale' recorded on QPRM142D FESTIVAL OF MUSIC 2002, Massed Bands of the Royal Air Force)
Estimated dispatch 7-14 working days
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