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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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£99.95The Romantic (Concert Band - Score and Parts) - Wiffin, Rob
A deliberately traditional-sounding concert overture, The Romantic was an attempt at writing in classical overture form, particularly that used by Berlioz. It came out highly tuneful but also rather technically demanding! Duration: 7.3
Estimated dispatch 7-14 working days
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£139.99I Vespri Siciliani (Concert Band - Score and Parts) - Verdi, Giuseppe - Cesarini, Franco
In 1854, Verdi was in Paris to compose I vespri siciliani (1855), a commission from the Theatre of the Opera. The composer soon became intolerant to the requests of the French "Grand Opra" as he considered them too restrictive and cunning. "I'll be very happy when I have finished I vespri siciliani. An opera at the Opra is as tiring as killing a bull. Five hours of music?... Hauf!" Verdi declared. Following the first performance, the French composer Hector Berlioz wrote in the "Journal des Dbats" an article that read "We have to admit that in I vespri siciliani, the penetrating intensity of the melodic expression, the sumptuous variety of the instrumentation, the fullness, the poetical sonority of the whole, the warm vivacity that shines everywhere and the passionate strength, although slow in disclosing (a characteristic feature of Verdi's talent), give the entire work a mark of greatness, a sort of majestic sovereignty more underlined than in Verdi's previous theatre productions."Duration: 8:30
Estimated dispatch 7-14 working days
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£72.99March to the Scaffold (from Symphonie Fantastique) (Concert Band - Score and Parts) - Berlioz, Hector - Custer, Calvin
From Berlioz's 'Symphonie Fantasique,' Calvin Custer has carefully captured the picturesque drama of the original orchestral work. Opening with a solemn procession that quickly transforms into a brilliant march, the piece continues to build in intensity up to the final closing chords. A dynamic transcription for intermediate bands.
Estimated dispatch 7-14 working days
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£179.99Benvenuto Cellini Wind Band Set (Score & Parts)
Hector Berlioz was known for his innovative and creative musical gestures. He composed the opera Benvenuto Cellini in 1838, based on the fascinating life of a 16th century Italian goldsmith of the same name. Unfortunately the work as a whole never gained much popularity however its colourful and exciting overture has, on the other hand, become a firm favourite. Tohru Takahashi has created a stunning concert band arrangement of this well-known overture. 0:11:40
Estimated dispatch 7-14 working days
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£214.95BLACK FIRE (after Paradise Lost) (Violin Solo with Concert Band - Score and Parts) - Clarke, Nigel
This is not a straight forward concerto, but rather a symphonic drama for violin and ensemble. It uses the soloist as both protagonist and ensemble player, much as Berlioz treated the viola in his symphony 'Harold in Italy'. Black Fire is written in one movement though it has three clear sections (slow, fast and slow). The music reflects the various shades of darkness and suffering that dominate the atmosphere of the early part of the poem. The violinist takes the role of Satan, reflecting his moods, from righteous indignation to sorrowful remorse. A motif from Wagner's opera 'Gotterdaemmerung' (Twighlight of the Gods) is used throughout the work to represent Satan's brooding hatred. At the end of the work you will find Satan in the form of the solo violin heroically travelling towards Paradise to corrupt 'Mankind'. Duration: 26:00
Estimated dispatch 7-14 working days
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