Results
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£76.99Night Disco (Concert Band - Score and Parts)
What could be better than a night out on the town? Luc Gistel obviously thought nothing! This entertaining composition has plenty of sounds that will remind young and old of many a night spent in the disco. After a tune that even John Travolta himself would have danced to, the mood quiets down for the obligatory slow song, during which new couples and old lovers can dance a little closer. Then things heat up again until the wee hours of the morning... 05:25
Estimated dispatch 7-14 working days
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£89.99
Trumpets of Jericho Wind Band Set (Score & Parts)
This programmatic piece tells the biblical story of the fall of Jericho. The music paints a vivid picture of the procession of armed men and seven priests marching around the city for seven days, before blowing their trumpets and to the cheers of the crowds watching as the walls came tumbling down. A dazzling opening work for any concert. 0:03:50
Estimated dispatch 7-14 working days
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£104.99
Variations on Shalom Chaverim Wind Band Set (Score & Parts)
Shalom Chaverim is an ancient Hebrew (farewell)song, which was originally sung at the end of a celebration or meeting. It was and is mostly sung as a round. Freely translated the words mean "Goodbye, friends, goodbye and see you again!". The varying moods at a parting have been captured very well by Andreas Schulte in his arrangement 'Variations on Shalom Chaverim'. The composer himself says about the song, 'Although the melody is in a minor key, the overall atmosphere in the song is positive. one wishes each other all the best. Saying goodbye, however, also hurts. When you slow down the pace of the melody and add 'blue notes' in the harmonies, this can be sensed immediately.' Schulte refers here to the first variation. The second variation is very intense with possibly even deeper-felt emotions. 'Variations on Shalom Chaverim' ends on a cheerful and positive note, in fast tempo, and with oriental elements in the melody: 'L'hitra'ot, Shalom' (See you again, and farewell!). 05:00
Estimated dispatch 7-14 working days
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£149.99Jericho - Bert Appermont
Jericho is the musical translation of the well-known story from the book of Joshua about the capture of the city of Jericho by the Israelites.Part 1 depicts the cruel journey through the desert to Canaan, the promised land. An emotional lamentation for the yearning for a home, for the end of a roaming existence.The capture of Jericho is the theme of part 2. The city cannot be captured immediately and Jehovah orders an impressive army to march around the city for six days. On the seventh day, they marched around the city seven times and the priests blew their trumpets and the people cried so loud that the walls of Jericho came tumbling down. The Jews stormed the city and drove theinhabitants away. The music clearly reveals the marching army and you can hear the walls falling down with a tremendous noise. However, there is quite some artistic freedom in the actual story.A majestic and grand melody subsequently evokes the triumphant emotions that emerged as the fortified city fell (part 3).Following a personal and romantic interpretation, the scene ultimately ends in a typical Jewish feast (part 4) whereby the virtuosity of melodies played by the woodwinds and the passionate rhythms refer to traditional Jewish music. All themes are repeated in this last part in various forms, often simultaneous and in duelling counterpoint. The piece ends with fragments from the main theme of part 1 in major: peace and quiet return at last.
Estimated dispatch 7-14 working days
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£75.00Sussex Carol (Concert Band with Optional Choir - Score and Parts) - Noble & Willcocks
The Sussex Carol is a Christmas carol popular in Britain, sometimes referred to by its first line On Christmas night all Christians sing. Its words were first published by Luke Wadding, a 17th-century Irish bishop, in a work called Small Garland of Pious and Godly Songs (1684). It is unclear whether Wadding wrote the song or was recording an earlier composition. Both the text and the tune to which it is now sung were discovered and written down by Cecil Sharp in Buckland, Gloucestershire, and Ralph Vaughan Williams, who heard it being sung by a Harriet Verrall of Monk's Gate, near Horsham, Sussex (hence Sussex Carol). The tune to which it is generally sung today is the one Vaughan Williams took down from Mrs. Verrall and published in 1919.
Estimated dispatch 7-14 working days
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£141.99Shaker Heights Fantasy - Philip Sparke
The Shakers were a sect who, in the 18th Century, sailed out from England to America. Right into the late 19th Century, the numerous songs of this community were handed down orally, until they were written down in various volumes of song collections.Philip Sparkes fantasy for wind band is based on a selection of these beautiful, captivatingly simple songs.
Estimated dispatch 7-14 working days
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£141.99Shaker Heights Fantasy (Concert Band - Score and Parts) - Sparke, Philip
The Shakers were a sect who, in the 18th Century, sailed out from England to America. Right into the late 19th Century, the numerous songs of this community were handed down orally, until they were written down in various volumes of song collections. Philip Sparkes fantasy for wind band is based on a selection of these beautiful, captivatingly simple songs.Duration: 9:30
Estimated dispatch 7-14 working days
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£211.80Karneval i Paris - Johan S. Svendsen
Johan Svendsen (1840-1911) composed "Carnival in Paris" in 1872, inspired by the energy and vibrancy of the Parisian carnival celebrations. The piece showcases a variety of moods and orchestral colours, ranging from jubilant and playful sections to more lyrical and elegant passages. It is a lively and colourful work that reflects Svendsen's skill in orchestration and his ability to capture vivid, festive atmospheres in music. In "Carnival in Paris", his Nordic musical roots meet the cosmopolitan influences he encountered while living and working in major European cities. The work has become one of Svendsen's most popular and is frequently performed in concert halls and festivals. About My Transcriptions for Wind Bands Ever since I started playing the clarinet at 8 or 9 years old in the school band "Blveisene" in my hometown of Gjvik, playing transcriptions of orchestral music has been a natural part of the repertoire. In regional bands, Norway's National Youth Band, and during my 10 years in a Military band, I played many such transcriptions. These transcriptions often included handwritten parts, masterfully crafted by colleagues in a time when music notation software didn't exist. Similarly, the scores were often incomplete, typically featuring just a solo clarinet part and condensed score in Bb. The transcriptions also contained parts for instruments like the Eb cornet and multiple tenor horns, but no saxophones, which made them less suitable for modern wind bands. The rise of many skilled Concert Bands and the increasing demands for scores and accessibility made me realize that someone needed to preserve this tradition. The reason I've transcribed these works is to ensure that you can play or conduct a repertoire that I believe has a rightful place in Norwegian Wind Band tradition. These transcriptions are my contribution to preserving some of the unique works in Norwegian music literature. Creating a transcription is a complex task, and I believe the score of "Carnival in Paris" is one of the most intricate I've undertaken. The first part of the process involves entering the entire orchestral score into music notation software. This is time-consuming and requires meticulous work. The next step is to check several editions to see if there are any discrepancies. Mistakes are often found in orchestral material, which can lead to further errors in the transcription. After that, I listen to many different recordings while following along with the score, paying attention to how different conductors emphasize balance and timbre. Gradually, I begin to note down passages I believe will work well for wind bands. One particular challenge in this piece is that the woodwinds and strings operate in the same register. In the original, the tonal difference between the strings and winds helps to clarify the individual musical lines. In the transcription, I've tried to address this by separating the lines, for example through octave adjustments, and highlighting them without compromising other aspects. I've also used some mallet percussion to broaden the tonal palette. There are countless decisions to be made to create a product that will hopefully allow future generations of wind band musicians to play this repertoire. - Stig Nordhagen -
Estimated dispatch 7-14 working days
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£242.50Labyrinth for Symphonic Band (Concert Band - Score and Parts) - Aagaard-Nilsen, Torstein
I wrote Labyrinth to celebrate the 450th anniversary for the city of Fredrikstad. The Danish king Fredrik II agreed to establish a new town further down the river Glomma, to make it easier to defend from the Swedes. The piece is a network of quotations mixed with my own pitch material. My versions of the quoted melodies are not authentic, and sometimes hard to recognize. However, the different quotations give the music an aura of tonality. For example, a dance tune composed by the Flemish composer Mattheus Le Maistre (1505-1577). The melody also occurs in the first danish book of hymns written after the reformation. Since Norway for 400 years was a part of Denmark and everybody had to write and read Danish, they used much of the same music, too. I also use regular Danish hymn tunes and quote from a religious folk song from the area around Fredrikstad. The military signals I use are authentic (for example, The Old Danish March), and I am very sure they were used in the Old Town (the fortress) of Fredrikstad. The drums quote from The Downfall of Paris. This could have been heard played by professional soldiers hired by the Swedes from Scotland. This edition is a revised version made in 2020. - Torstein Aagaard-Nilsen. Duration: 23.00
Estimated dispatch 7-14 working days
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£85.00O Little Town of Bethlehem (Concert Band - Score and Parts) - Brooks & Redner - Hannevik, John Philip
The text for this carol was written by the Episcopal priest Phillips Brooks in 1865, and it was inspired by his visit to Bethlehem three years earlier. He asked his organist in the Church of the Holy Trinity in Philadelphia, Lewis Redner, to write a tune to his poem. Lewis Redner himself later told that he found it hard to write a good tune for the text. But the night before the first performance "I was roused from sleep late in the night hearing an angel-strain whispering in my ear, and seizing a piece of music paper I jotted down the treble of the tune as we now have it, and on Sunday morning before going to church I filled in the harmony. Neither Mr. Brooks nor I ever thought the carol or the music to it would live beyond that Christmas of 1868." Duration: 2.20
Estimated dispatch 7-14 working days
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