Results
-
£139.99The Saint and the City - Jacob de Haan
This tumultuous composition tells the legend of the town of Zwolle in the Netherlands. In the waters surrounding Zwolle lived a dragon. When it appeared it threatened to destroy the town with it fiery breath if a human sacrifice was not offered. St Michael confronted the dragon in a battle without equal. As a knight armed with a double edged sword the archangel battled against the dragon and decapitated it. Thus the city was saved. To represent the archangel the composer has chosen the hymn tune Laudate Dominum . The dragon is symbolised by a series of menacing chords.
Estimated dispatch 7-14 working days
-
£76.99L'Espoir - Satoshi Yagisawa
The renowned Japanese composer Satoshi Yagisawa was given three separate tasks for this commission: it should be a short, attractive piece of music that is easy to listen to; it should be suitable as a choral exercise; and it should be fitting as anencore for the regular annual concert of the client. So it was that Yagisawa composed a glorious, warm-sounding work that satisfies all three requirements, and additionally serves as an excellent intermezzo in any concert.
Estimated dispatch 7-14 working days
-
£154.99Achnaton - Jan Bosveld
The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III. He reigned the New Kingdom from 1353 until 1336 BC. Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history. His harsh reign induced much suffering under the population. During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside. An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton. Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself. Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself. It was now necessary to change his name: 'Amenhotep' meaning 'the god Amun is satisfied', because he didnt want to be associated with Amun or any of the other deities. He renamed himself 'Achnaton' which means 'servant of the Aten' -- a much more appropriate title! In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton ('the Horizon of the Aten') which was where Tel el-Amarna stands today. He did this to further isolate himself from the 'old' religion, since the previous capital Thebes was thecentre of worship of Amun. This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire. Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings. From that moment on he was remembered as the'heretic king'. This composition was partially funded by the 'Prins Bernhard Cultuurfonds'.
Estimated dispatch 7-14 working days
-
£118.99Alleluia - Samuel R. Hazo
Commissioned by the award-winning Kalamazoo (MI) Concert Band, Alleluia is a convergence of hauntingly emotive themes that culminate in breath-taking builds. The Kalamazoo Gazette described it as the pinnacle of the concert inwhich it was premiered, adding that Hazo's master composition takes the listener from ...bells and chimes to full Hosannas. The result was transfiguring! It first fades like a sunset, then explodes in white light, bringing theaudience to their feet. Written for mature ensembles, this work will have a powerful impact on the performers as well as all who hear it. Dur: 7:55
Estimated dispatch 7-14 working days
-
£53.50Palladio - Karl Jenkins
Although this composition sounds like it came straight out of the Baroque period, it is actually the first movement of a suite written in 1996 by Karl Jenkins. Instantly recognized as the 'diamond commercial' theme, its relentless pulse and dramatic nature make it a natural for bands. Robert Longfield's skilled arrangement puts it within reach of most groups.score and parts - 4 Flute I, 4 Flute II, 2 Oboe, 4 Bb Clarinet I, 4 Bb Clarinet II, 4 Bb Clarinet III, 2 Bb Bass Clarinet, 2 Bassoon, 2 Eb Alto Saxophone I, 2 Eb Alto Saxophone II, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 2 F Horn I, 2 F Horn II, 3 Bb Trumpet I, 3 Bb Trumpet II, 3 Bb Trumpet III, , 3 Trombone I,3 Trombone II, 2 Baritone B.C., 2 Baritone T.C., 4 Tuba, I String Bass, I Timpani, 2 Percussion I, 2 Percussion II - wind/concert band
Estimated dispatch 7-14 working days
-
£127.40Pungjazz (Trumpet Solo with Concert Band - Score and Parts) - Alnaes, Frode - Gudim, Lars Erik
Pungjazz was originally entitled Klppfesk as a part of my musical with the same name composed in the mid 1980s. It s a nice swing tune which Norwegian trumpet Ole Edvard Antonsen made well-known by including it on his album record Tour de Force (1992). Antonsen re-named it Pungjazz which is a more appropriate title for a trumpet player! It was also performed by Norwegian band Dance with a Stranger.- Frode Alnaes
Estimated dispatch 7-14 working days
-
£73.00S.O.S. (Concert Band - Score and Parts) - Kjaernes, Bjorn Morten
When the publisher asked me to make an arrangement of an ABBA tune, S.O.S. was the first song I thought of. Its introduction and melody are well suited to play for Wind Band. Admittedly, the key had to be shifted to make it sound good for this instrumentation. To me, this is nostalgia, while for others, the Mamma Mia movie/show will be what they associate with this wonderful song. Apart from a few medleys, few of ABBA's songs are available to Wind Band. So, it was very fun to work on this classic.The arrangement is made quite simply to fit many sizes of bands. Technically, it is also relatively simple both in range and rhythm. As you can see, there are many ways to adjust this arrangement to your own ensemble. Bring out melody lines and the bassline, and a lot is done. If needed, simplify to make it sound nice.Get creative and have fun!- Bjorn Morten KjaernesDuration: 3.30
Estimated dispatch 7-14 working days
-
£126.50Beating Beats (Concert Band - Score and Parts) - Van der Roost, Jan
Beating Beats rhythmically is a rather special piece: more conventional metres are manipulated in such a way that the listener (without score) may be confused and even misled at various points! The 'regular four beat accents in a 4/4 measure for example are often not adhered to, giving the impression of a different metre altogether. However, at the same time it may be that some instruments do follow this "normal" 4/4 metre, thus confusing everyone - performers and listeners alike! On one hand, it is a "simple" piece with very playable and melodic themes, but their mysterious rhythmic makes it not only sound more complicated, but also makes for a greater challenge for both players and the conductor! As is mostly the case with Jan Van der Roost's works, the orchestration is both colourful and contrasting, with every section of the modern wind orchestra used equally. All in all, it's a work full of surprises with some unexpected harmonies and special melodic lines but above all, with metrical and rhythmical sure to catch you unawares! Duration: 7.00
Estimated dispatch 7-14 working days
-
£167.00Passacaglia and Fugue in C minor BWV 852 (Concert Band - Score and Parts) - Bach, Johann Sebastian - Cesarini, Franco
The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini's arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The "Thema fugatum" which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful "Neapolitan sixth" chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord. Duration: 12.45
Estimated dispatch 7-14 working days
-
£159.99In Nomine (Concert Band - Score and Parts) - Schwarz, Otto M.
How often has something been justified by, declared to be, or blessed as 'in the name of' some cause or other? How can it be that opposing armies and the use of weapons are ever 'in the name of...'? This is a common thread in the history of different faiths. Good was created but evil was committed and all 'in the name of...' This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium ('the desert will bloom like a lily'); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' leftovers on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music, which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it, that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life, the Premonstratensian abbey, is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.Duration: 11.15
Estimated dispatch 7-14 working days
View Music