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£139.99Le Carnaval Romain - Hector Berlioz
Berlioz based his sparkling overture Le Carnaval Romain on themesfrom his opera Benvenuto Cellini. The opera had been performed a fewtimes in Paris, a number of years before, with little success. The overturehowever, quickly became very popular and is still today a great a crowdpleaser. The energetic vitality of the work - with an Italian touch- is certainly present in this skilfully written transcription by TohruTakahashi.
Estimated dispatch 7-14 working days
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£109.99Marche Hongroise Wind Band Set (Score & Parts)
When Berlioz won the Prix de Rome in 1830 he had already composed several major works such as the Symphonie Fantastique. Indeed, he became the essential French romantic composer. The Hungarian March is taken from the fourth act of The Damnation of Faust, a dramatic legend composed in 1846 and sometimes performed in the form of an opera. Previoiusly Berlioz had given it the sub-title 'opera de concert". This transcription for concert band has been made by Tohru Takahashi. 0:04:45
Estimated dispatch 7-14 working days
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£71.95Suite from - Hector Berlioz / arr. Michael Story
Including three movements from Berlioz's five-movement , originally composed in 1830---"A Ball," "March to the Scaffold," and "A Witches' Sabbath"---this masterwork is revered as one of the most vivid program pieces in classical music, and remains to this day one of the most popular works of the Romantic period. Carefully scored for the contemporary concert band. (6:45)
Estimated dispatch 3-5 days
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£138.00
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£69.95Scaff!
'Scaff' is an adaptation of the famous 4th movement of the Symphonie Fantastique by Berlioz in swing style. The story of the 'March to the scaffold' is a tragic one where the subject, in a depressive state over a love interest, overd
Estimated dispatch 7-14 working days
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£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 14.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the modernity of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 39.00
Estimated dispatch 7-14 working days
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£71.95Symphonie Fantastique, Suite from (Concert Band - Score and Parts) - Berlioz, Hector - Story, Michael
Including three movements from Berlioz's five-movement Symphonie Fantastique, originally composed in 1830, "A Ball," "March to the Scaffold," and "A Witches' Sabbath", this masterwork is revered as one of the most vivid program pieces in classical music, and remains to this day one of the most popular works of the Romantic period. Carefully scored for the contemporary concert band.Duration: 6:45
Estimated dispatch 7-14 working days
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£74.95Sonata for Clarinet Op.120 No.2 in Eb (Concert Band - Score and Parts) - Brahms, Johannes - Farr, Ray
'Scaff' is an adaptation of the famous 4th movement of the Symphonie Fantastique by Berlioz in swing style. The story of the 'March to the scaffold' is a tragic one where the subject, in a depressive state over a love interest, overdoses on opium. He dreams that he has killed his beloved and after his procession to the scaffold is now witnessing his own death. This arrangement doesn't really reflect those tragic circumstances but instead redresses this great tune into a toe-tapping 'big band' number.
Estimated dispatch 7-14 working days
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£14.95
Sonata for Clarinet Op.120 No.2 in Eb (Concert Band - Score Only) - Brahms, Johannes - Farr, Ray
'Scaff' is an adaptation of the famous 4th movement of the Symphonie Fantastique by Berlioz in swing style. The story of the 'March to the scaffold' is a tragic one where the subject, in a depressive state over a love interest, overdoses on opium. He dreams that he has killed his beloved and after his procession to the scaffold is now witnessing his own death. This arrangement doesn't really reflect those tragic circumstances but instead redresses this great tune into a toe-tapping 'big band' number.
Estimated dispatch 7-14 working days
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