Results
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£53.50Pueblo (Land Of Ancient Peoples) - John Higgins
This impressive work by John Higgins is a descriptive essay for band, reflecting the mysteries of Native American peoples and their kinship with nature. The varied musical sections are subtitled: Enchanted Mesa; Adobe Village; Ancient Voices; and Mother Earth, Father Sky. The optional solo for recorder can be played by a solo flute or flute section. (4:20)
Estimated dispatch 7-14 working days
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£64.35Love's Old Sweet Song
This beautiful song from the turn-of-the-century is Andrew Glover's latest addition to the Barnhouse "Spotlight" series for solo instrument or voice with band accompaniment. Most effective as a solo for euphonium, trombone, or cornet/trumpet, it includes solo parts and is also playable by solo flute, violin, oboe, clarinet, alto saxophone, or horn. It may also be performed as a vocal solo (medium range from low D up to top-line F.) A masterful arrangement of a wonderful classic song!
Estimated dispatch 7-14 working days
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£71.50Love's Old Sweet Song - Molloy
This beautiful song from the turn-of-the-century is Andrew Glover's latest addition to the Barnhouse "Spotlight" series for solo instrument or voice with band accompaniment. Most effective as a solo for euphonium, trombone, or cornet/trumpet, it includes solo parts and is also playable by solo flute, violin, oboe, clarinet, alto saxophone, or horn. It may also be performed as a vocal solo (medium range from low D up to top-line F.) A masterful arrangement of a wonderful classic song!
Estimated dispatch 7-14 working days
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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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£67.32
Czardas - Monti, Vittorio
This lively Hungarian folk dance, originally set for solo violin and piano by Italian composer Vittorio Monti, has been arranged for solo instrument and concert band for the Barnhouse "Spotlight" series by Andrew Glover. This rhapsodical work allows the soloist to display great lyrical skills as well as technical virtuosity! Includes solo parts for violin or flute, b-flat clarinet (or any b-flat instrument in similar range), e-flat alto saxophone, or euphonium (bass clef). Band accompaniment parts grade 3; solo part grade 4+. A great way to feature your outstanding soloist or guest artist, and guaranteed to astonish your audience!
Estimated dispatch 7-14 working days
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£74.99Czardas - Vittorio Monti
This lively Hungarian folk dance, originally set for solo violin and piano by Italian composer Vittorio Monti, has been arranged for solo instrument and concert band for the Barnhouse "Spotlight" series by Andrew Glover. This rhapsodical work allows the soloist to display great lyrical skills as well as technical virtuosity! Includes solo parts for violin or flute, b-flat clarinet (or any b-flat instrument in similar range), e-flat alto saxophone, or euphonium (bass clef). Band accompaniment parts grade 3; solo part grade 4+. A great way to feature your outstanding soloist or guest artist, and guaranteed to astonish your audience!
Estimated dispatch 7-14 working days
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£67.32
Bridge of Dreams
A bold and impressive composition by Ohio composer Tracy Behrman that uses attractive rhythm motives in the brasses and flowing melodic lines in the woodwinds and F horns to create a spirited contemporary work that is sure to become a standard at concert and contest performances. Includes very effective percussion parts and a tympani solo that will keep your drummers and keyboard percussionists challenged and involved. Features a tasty trumpet solo and a short solo for flute in the legato section. An outstanding choice for any concert or festival performance!
Estimated dispatch 7-14 working days
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£115.00
DIVERTIMENTO FOR BAND (Concert Band) - Woolfenden, Guy
Includes:I. ToccataII. AubadeIII. ScherzoMany of the principal musical ideas for Divertimento for Band are derived from music composed for a documentary film called Country Camera, which celebrated the work of the earliest photographers who recorded a way of life which vanished at the outset of the first World War.The three movements are played without a break. The Toccata pits a four-note motif (which always appears with its mirror image) against several other derived ideas, including a sour horn (later trumpet) figure, a tiny lyrical passage initiated by a solo alto saxophone, and a more gentle, but still staccato episode. Many polytonal devices keep the four-note motif active. The Aubade contrasts a lyrical pastorale, initiated by a solo flute, with a more intense central section on the brass. The Scherzo finale has three main ideas; a tune for principal bassoon and euphonium of a playful child-like nature, a rushing figure for the woodwinds later developed by the full band, and a solo for trumpet and clarinet, involving a descending scale and a lyrical wide-leaping recovery. The exuberant coda is derived from themes from the previous two movements.The world premiere of Divertimento for Band was given at the conference of the World Association for Symphonic Bands and Ensembles in Killarney on 13th July 2007 conducted by the composer, and is affectionately dedicated to Keith Allen, Jayne Rollason and Birmingham Symphonic Winds. -GW
Estimated dispatch 7-14 working days
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£184.95PARTITA for Concert Band (Darrol Barry) (Prestige Concert Band - Score and Parts) - Barry, Darrol
This work is cast in four movements: Introit; Impromptu; Elegy (31.12.04); Finale. Grade 5. (Recorded on QPRM150D, CHIVALRY, Royal Northern College of Music Wind Orchestra) PARTITA FOR CONCERT BAND is cast in four movements: Introit - begins majestically with brass, saxes and percussion carrying the main theme from which most of the following ideas originate. It is repeated by the woodwinds and moves via a solo side drum into the piu mosso. New ideas are introduced by trombones, the horns and euphoniums leading to the central idea played by oboe. This leads, in turn, via full band to the closing movement. 2. Impromptu -once again the opening theme is the basis of the whole movement, using most of the composer's tricks, augmentation, retrograde, inversion and fugato, it moves along in a very confident style. A muted solo trumpet links into the third movement. Elegy (26/12/04) - this movement was prompted by the devastating events of Boxing Day 2004, the Asian Tsunami. The movement opens bleakly until a solo flute gives us the main theme over a troubled accompaniment. The opening mood returns but timpani and tam-tam herald return of the main theme for the full band. The opening theme is heard again as the music subsides but never settles. Finale - this spirited 6/8 vivo opens up with percussion and horns and trumpets announce the main idea, punctuated with short chords from the lower band. A new four bar theme is heard over a bass tread, the theme overlaps itself and quavers swirl up and down the band. Material from the first movement is heard transformed by the energy of the finale and the music surges towards a sudden close. Performance time: 15:35
Estimated dispatch 7-14 working days
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£44.95
PARTITA for Concert Band (Darrol Barry) (Prestige Concert Band - Score only) - Barry, Darrol
This work is cast in four movements: Introit; Impromptu; Elegy (31.12.04); Finale. Grade 5. (Recorded on QPRM150D, CHIVALRY, Royal Northern College of Music Wind Orchestra) PARTITA FOR CONCERT BAND is cast in four movements: Introit - begins majestically with brass, saxes and percussion carrying the main theme from which most of the following ideas originate. It is repeated by the woodwinds and moves via a solo side drum into the piu mosso. New ideas are introduced by trombones, the horns and euphoniums leading to the central idea played by oboe. This leads, in turn, via full band to the closing movement. 2. Impromptu -once again the opening theme is the basis of the whole movement, using most of the composer's tricks, augmentation, retrograde, inversion and fugato, it moves along in a very confident style. A muted solo trumpet links into the third movement. Elegy (26/12/04) - this movement was prompted by the devastating events of Boxing Day 2004, the Asian Tsunami. The movement opens bleakly until a solo flute gives us the main theme over a troubled accompaniment. The opening mood returns but timpani and tam-tam herald return of the main theme for the full band. The opening theme is heard again as the music subsides but never settles. Finale - this spirited 6/8 vivo opens up with percussion and horns and trumpets announce the main idea, punctuated with short chords from the lower band. A new four bar theme is heard over a bass tread, the theme overlaps itself and quavers swirl up and down the band. Material from the first movement is heard transformed by the energy of the finale and the music surges towards a sudden close. Performance time: 15:35
Estimated dispatch 7-14 working days
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