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£149.99Aladdin Suite - Carl Nielsen
The large creative output of the Danish composer Carl Nielsen (1865 - 1931) contains six symphonies, chamber music, vocal works and music for the theatre: two operas (Saul & David and Maskerade) and stage music for sixteen different plays. The stage music for Aladdin was written at the request of Johannes Nielsen, the director of the Royal Theatre in Copenhagen. This production was based on the drama Aladdin (1805) by the Danish author Adam Oehlenschlger. Already before the premiere at the Royal Theatre, Carl Nielsen had adapted some of the music for the concert hall: he conducted the first performance of six of the seven movements of the concert suite on February6th, 1919. Johan de Meij's transcription for symphonic band contains the following movements: I Oriental Festival March II Aladdin's Dream / Dance of the Morning Mist III African Negro Dance
Estimated dispatch 7-14 working days
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£144.99
Suite Marchigiana (Concert Band - Score and Parts)
According to a famous statement by Herder, folk songs represent the archives of a nation's knowledge, the expression of its heart and theimage that reflects its history and identity. Suite Marchigiana is a three movement piece, inspired by folk songs from the Marche in central Italy, a region with a very ancient and rich folkloristic heritage. The first movement elaborates on the well-known Pasquella. The Pasquella comes from a traditional winter begging ritual where a group of musicians go from house to house singing verses, wishing their audience good health, wealth and abundance, in return for small amounts of money, food and wine. The second movement is an Andante Triste inspired by an old song called Sona la mezzanotte (The Clock Strikes Midnight), a melancholic song that reminds us of unhappy love stories, bereavement, and so on. Luciano Feliciani concludes the suite with the Saltarello Marchigiano, which is bright and sparkling, and therefore in complete contrast with the previous movement. Although unproven, the Saltarello is thought to have its origins in the 'saltatio' (a latin dance). While the choreae were group dances, circular in structure and with a rhythmic progression, the saltationes were more lively in character. The fast, frenetic and joyous saltarello was without any doubt the most famous musical expression of rural central Italy in the nineteenth century. 10:20
Estimated dispatch 7-14 working days
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£32.95SUITE OF ENGLISH FOLKDANCES (Symphonic WB Extra Score) - Tomlinson, Ernest
Extra score only. In 1951 Ernest Tomlinson, at the invitation of his sister Freda, attended a Festival of Dance and Song presented by the English Folk Dance and Song Society. He was so captivated by the tunes danced to, that he resolved to write an orchestral suite based on some of them. The composer's arrangement for wind band follows closely the textures and colour contrasts of the orchestral original. The Suite, which is dedicated to his sister, is in six movements, all the tunes being selected from the first edition of John Playford's The English Dancing Master. Includes: Jenny Pluck Pears; Ten Pound Lass; Dick's Maggot; Nonesuch; Hunt the Squirrel; Woodicock. Duration: 12 mins.
Estimated dispatch 7-14 working days
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£164.95
SUITE OF ENGLISH FOLKDANCES (Symphonic WB) - Tomlinson, Ernest
Score & Parts. In 1951 Ernest Tomlinson, at the invitation of his sister Freda, attended a Festival of Dance and Song presented by the English Folk Dance and Song Society. He was so captivated by the tunes danced to, that he resolved to write an orchestral suite based on some of them. The composer's arrangement for wind band follows closely the textures and colour contrasts of the orchestral original. The Suite, which is dedicated to his sister, is in six movements, all the tunes being selected from the first edition of John Playford's The English Dancing Master. Includes: Jenny Pluck Pears; Ten Pound Lass; Dick's Maggot; Nonesuch; Hunt the Squirrel; Woodicock. Duration: 12 mins.
Estimated dispatch 7-14 working days
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£72.99Suite of Old American Dances (Concert Band - Score and Parts) - Bennett, Robert Russell - Curnow, James
First published in 1950, Robert Russell Bennett's Suite of Old American Dances has established itself as a classic in the repertoire for wind bands. This edition is designed for young players and features three of the original five movements: Western One-Step, Wallflower Ragn and Cake Walk. Carefully adapted by James Curnow, these settings offer an important historical perspective for students, as well as enjoyable music.Duration: 6:30
Estimated dispatch 7-14 working days
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£156.00A Midsummer Night's Dream (Concert Band - Score and Parts) - Mendelssohn, Felix - De Meij, Johan
Suite from the Incidental Music. Felix Mendelssohn Bartholdy (1809 - 1847) composed the music for William Shakespeare's play A Midsummer Night's Dream at two different times. In 1826, at the age of 16, he wrote a concert overture (Op. 21). Sixteen years later, in 1842, he composed the incidental music (opus 61) for King Frederick William IV of Prussia, in which he incorporated the existing overture. The overture premiered in Stettin (then in Prussia, now Szczecin, Poland) on February 20, 1827, conducted by Carl Loewe. Mendelssohn had to travel 80 miles through a raging snowstorm to get to the concert, which became his first public appearance. The first British performance of the overture was conducted by Mendelssohn himself on June 24, 1829, at the Argyll Rooms in London. After the concert, Thomas Attwood was given the score of the overture for safekeeping, but left it in a taxi and was never found. Mendelssohn later rewrote the overture entirely from memory.Duration: 14.45
Estimated dispatch 7-14 working days
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£79.95Timepiece (Concert Band - Score and Parts) - Wiffin, Rob
Timepiece is a challenging work full of driving rhythms and relentless energy. It started life as the first movement of The Sands of Time, a commissioned work for clarinet choir. Because of the time limits of the commission, Wiffin could not develop the material as much as he had wanted to. He rescored it for wind band and included it as the first movement of a suite, but it did not sit well there because of its difficulty. Now re-worked and extended, the driving rhythms and many changes of time that give the piece its name are now balanced by a quieter, tranquil central section in 3/4. It is not easy, but most of the difficulty lies in the reading of the music rather than in any particular technical problems. It is recorded on on the RAF CD, Music in the Air.Duration: 6.15
Estimated dispatch 7-14 working days
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£85.00Amsterdam Suite, 1st Movement (Concert Band - Score and Parts) - Curtis, Matthew - Noble, Paul
The Amsterdam Suite, written in 1995 and first performed by the Slaithwaite Philharmonic Orchestra the following year, seeks to convey some impressions of a city I have visited several times. It opens with the waltz sequence, Barrel Organs, recalling the hurdy-gurdies positioned at strategic points in the city with the aim of parting tourists with their loose change. The tunes, however, are mine rather than an attempt to reproduce the real thing. Amsterdam takes its Saturday nights seriously, with the result that those who get up (or are still up) early on Sunday morning will find themselves in eerily deserted streets, whose atmosphere to me suggests one instrument above all, the saxophone, which plays a prominent part in Lonely City. The Saturday nights themselves are depicted in Trams and Crowds. I have taken liberties with the chronology for the obvious musical reason of wanting to go out with a bang rather than a whimper. The basic structure is very much that used by Eric Coates for similar piece, a bustling outer section with a quick march trio, presented in a fuller and more embellished orchestration on each of its three appearances. - Matthew Curtis.
Estimated dispatch 7-14 working days
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£85.00Amsterdam Suite, 2nd Movement (Concert Band - Score and Parts) - Curtis, Matthew - Noble, Paul
The Amsterdam Suite, written in 1995 and first performed by the Slaithwaite Philharmonic Orchestra the following year, seeks to convey some impressions of a city I have visited several times. It opens with the waltz sequence, Barrel Organs, recalling the hurdy-gurdies positioned at strategic points in the city with the aim of parting tourists with their loose change. The tunes, however, are mine rather than an attempt to reproduce the real thing. Amsterdam takes its Saturday nights seriously, with the result that those who get up (or are still up) early on Sunday morning will find themselves in eerily deserted streets, whose atmosphere to me suggests one instrument above all, the saxophone, which plays a prominent part in Lonely City. The Saturday nights themselves are depicted in Trams and Crowds. I have taken liberties with the chronology for the obvious musical reason of wanting to go out with a bang rather than a whimper. The basic structure is very much that used by Eric Coates for similar piece, a bustling outer section with a quick march trio, presented in a fuller and more embellished orchestration on each of its three appearances. - Matthew Curtis.
Estimated dispatch 7-14 working days
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£85.00Amsterdam Suite, 3rd Movement (Concert Band - Score and Parts) - Curtis, Matthew - Noble, Paul
The Amsterdam Suite, written in 1995 and first performed by the Slaithwaite Philharmonic Orchestra the following year, seeks to convey some impressions of a city I have visited several times. It opens with the waltz sequence, Barrel Organs, recalling the hurdy-gurdies positioned at strategic points in the city with the aim of parting tourists with their loose change. The tunes, however, are mine rather than an attempt to reproduce the real thing. Amsterdam takes its Saturday nights seriously, with the result that those who get up (or are still up) early on Sunday morning will find themselves in eerily deserted streets, whose atmosphere to me suggests one instrument above all, the saxophone, which plays a prominent part in Lonely City. The Saturday nights themselves are depicted in Trams and Crowds. I have taken liberties with the chronology for the obvious musical reason of wanting to go out with a bang rather than a whimper. The basic structure is very much that used by Eric Coates for similar piece, a bustling outer section with a quick march trio, presented in a fuller and more embellished orchestration on each of its three appearances. - Matthew Curtis.
Estimated dispatch 7-14 working days
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