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£113.30Moderate Dances - Angelo Sormani
This piece is a tribute to dance music, especially passionate, intense and meditative dance music. "Moderate Dances" is divided into three movements: a "Tango", a "Slow Waltz" and a "Bossa Nova". Each movement and each dance has its own particular characteristics but, when combined, these different rhythmic beats and times give the piece a feeling of completeness and uniformity. The Tango started to flourish in the suburbs of Buenos Aires in around 1880. There is still some doubt as to its origins, which may be Cuban (Habanera) but are probably African. It was most popular in Argentina and Brazil: here the male protagonist was originally the "gaucho" with his inseparable guitar, later to be replaced by the proud, elegant "compadre". By around 1910 the Tango had spread to Italy and France. New clubs opened, where the upper classes could watch and dance the Tango. Here the dance also underwent some rapid transformations. The exaggerated and extravagant gestures and body movements disappeared. Slow, gliding steps replaced the old rotational movements. The women's red ankle-boots and the partners "staring into each other's eyes" accentuated the erotic nature and sensuality of this dance. So much so that, in 1913, the German government banned soldiers from dancing the Tango. Those who broke the law were immediately discharged from the army. From a strictly musical perspective, the basic instruments were a flute, a harp (the diatonic harp typically played by the Indians of Paraguay) and a violin, or flute, guitar and violin or even clarinet, guitar and violin. These instruments were easy to transport, ideal for playing at parties, in the streets and in courtyards. The musicians played by ear, frequently improvising: there were no scores, no records, which is the main reason why it is impossible to trace the Tango back to its exact origins. However, the Tango's evolution (and growing popularity) was once again fostered by its fundamental ability to absorb "other" cultures, languages and sounds. And it was the arrival of the "bandoneon" (an accordion-like instrument that was invented in Germany and brought to Rio de la Plata by some immigrant), which replaced the flute, that marked the beginning of the Tango's huge success outside Argentina. A number of talented composers, above all the great Astor Piazzola (1921-1992), transformed the bandoneon from a simple accompanying instrument to a solo instrument that was to become the distinguishing feature of the 20th century Tango. The Slow Waltz originated from the Waltz, the typical dance of the Bavarian and Tyrolese peasants in the 1700s. It was composers like Johann Strauss, father and son, who carried the Waltz to its zenith in the 1800s, creating the sensual and melancholy yet joyful and charming dance we are all familiar with. When the Waltz first became popular in Germany, the members of respectable society were shocked at the closeness of the dancing partners, who had always previously danced apart. The main difference between the Waltz and Slow Waltz is that the latter has a slower, more expressive rhythm: the men wear tails and the women wear ball gowns decorated with beads and feathers and couples dance in graceful rotational movements. "Bossa Nova" is the title of the last movement in the piece. Jobim, the great Brazilian musician, described this musical genre as a combination of modern Jazz and Samba. Bossa Nova means "new wave". This was the name of the artistic and musical movement that evolved in Brazil in the late Fifties and was extremely popular throughout the Sixties. The songs are usually about love or social matters, drawing inspiration from the slums of Rio De Janeiro and the lives of their inhabitants. Bossa Nova, with its original compositions and the artistic talent of its musicians, also became hugely popular in the United States and Europe, and top Jazz musicians (Ella Fitzgerald, Stan Getz, Bob Cooper, Charlie Bird, Sonny Rollins, Dexter Gordon, Dizzy Gillespie) started to include Bossa in their repertoires.
Estimated dispatch 7-14 working days
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£29.95FINAL DANCE Jota's Dance (Novello Symphonic Band) Extra Score - De Falla, Manuel - Wiggins, Bram
Extra Score only. Transcribed from the ballet, The Three-Cornered Hat.
Estimated dispatch 7-14 working days
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£38.50Two Dances from "Capriol Suite" (Concert Band - Score and Parts)
Johnnie Vinson has expertly adapted two movements from this well-known suite by Peter Warlock based on 16th-century dance music. "Basse-Dance" is a stately and moderate tempo dance in 3/4, while "Mattachins" is an energetic sword dance in 2/4. The unique stylings, and at times unusual harmonies, have been preserved in these delightful setting for beginning players. (2:20)
Estimated dispatch 7-14 working days
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£65.99
Polish Dance No. 1, Slavonic Dance No. 1 - Xaver Scharwenka
Estimated dispatch 7-14 working days
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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated dispatch 7-14 working days
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£55.00
Chansons de Normandie - Nigel Hess
Chansons de Normandie, commissioned by the Central Band of the RAF to mark the anniversary of the D-Day landings is now available. The work premiered on BBC Radio 2 as part of their D-Day broadcast from the Royal Albert Hall on June 6th, 2014.This 4 minute, Grade 5 piece is based on three traditional Normandy folk songs: Les Metamorphoses, Le marchand de velours and Le corselet. An ideal concert opener, the work is a lively dance with suggestions of Renaissance dance music
In stock: Estimated delivery 1-3 days
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£49.99Chansons de Normandie (Concert Band - Score and Parts) - Hess, Nigel
Chansons de Normandie, commissioned by the Central Band of the RAF to mark the anniversary of the D-Day landings is now available. The work premiered on BBC Radio 2 as part of their D-Day broadcast from the Royal Albert Hall on June 6th, 2014.This 4 minute, Grade 5 piece is based on three traditional Normandy folk songs: Les Metamorphoses, Le marchand de velours and Le corselet. An ideal concert opener, the work is a lively dance with suggestions of Renaissance dance music.
Estimated dispatch 7-14 working days
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£94.95SIROCCO (Concert Band) - Graham, Peter
A Sirocco is a wind that originates in the Sahara and sweeps across the Mediterranean through North Africa to Southern Europe. Taking this route as his inspiration, Peter Graham has fashioned a tour-de-force for band that features three Mediterranean folk songs. Two of the three movements are well known in their respective countries. Firstly, the fast and furious Tarantella is commonly heard as part of traditional Italian wedding celebrations whilst the Romanza can justifiably lay claim as one of Spain's most enduring melodies, synonymous with the Spanish guitar. The final movement has its roots in traditional Greek dance music, being a mixture of slow and fast versions of the hasapiko. The best-known example of the form is the famous Zorba's Dance, and in the same manner the Sirtakis sedate opening bars soon give way to a frenzy of activity as the entire ensemble whip up their own musical storm
Estimated dispatch 7-14 working days
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£84.99Saltus Hungaricus - László Zempléni
The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaining instrumental pieces in almost every style. The majority of the sources are collections compiled by non-professional musicians and intendedfor private music-making. In this work the composer uses melodies from the 18th-century Linus dance collection, in trioform, with harmonies and bass appropriate to that period. The musical fabric is rich in counterparts, the sound is mademore colourful with many kinds of percussion instruments. The register and rhythmic simplicity of the parts make thepieces easily playable even by music school pupils.
Estimated dispatch 7-14 working days
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£86.80
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