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£123.203 Letzte Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the "modernity" of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 14.00
Estimated dispatch 7-14 working days
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£256.0014 Motetten (Concert Band - Score and Parts) - Bruckner, Anton - Doss, Thomas
Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn't have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the modernity of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new.Duration: 39.00
Estimated dispatch 7-14 working days
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£122.20Stjernen og Rosa (The Star and a Rose) (Concert Band - Score and Parts) - Hannevik, John Philip
The Star and a Rose is a big-scale Christmas piece for band, featuring four seasonal chorales.The first is a Gregorian-like chant Hodie Christus natus est.In this section of the piece, a soloist can be placed away from the band, maybe on a gallery. The soloist can be a tenor instrument, maybe trombone, or you can feature a vocal soloist. After this, the music leads us on to the old German Christmas chorale Lo, how a rose e'er blooming. This song is given a fairly rhythmical treatment, but make sure that the melody is presented in a cantabile style. An interlude follows, before the piece presents one of the most used and loved Scandinavian Christmas chorales, Mitt hjerte alltid vanker (My Heart will always wander), composed by the Danish bishop Hans Adolph Brorson around 1732. This song is building towards a climax, before the solo horn brings it all down to the Stable view described in the lyrics. Then comes a transition that brings us in to the final section of the piece, which presents the international Christmas Carol Adeste Fideles. As many will notice, I have borrowed a section from David Wilcocks majestic harmonization towards the end.The title of the piece has its background form the lyrics in My heart will always wander, where the text speaks about the stars in the sky. But also in the Latin text for Adeste Fideles: Stella duce, Magi, Christum adorantes. The Rose is of course from the lyrics in the chorale Lo, how a Rose.Duration: 10.30
Estimated dispatch 7-14 working days
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£65.00Hymnsong from Mannin Veen (Concert Band - Score and Parts) - Wood, Haydn - Longfield, Robert
Composed in 1933, Haydn Wood's classic work "Mannin Veen: A Manx Tone Poem" has remained a staple in the wind band repertoire. The opening segment of the work is based on the folk hymn "The Good Old Way." Robert Longfield has carefully adapted this stunning section as a stand-alone chorale scored for contemporary band instrumentation. Duration: 2.30
Estimated dispatch 7-14 working days
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£68.00Good 4 U (Concert Band - Score and Parts) - Bernotas, Chris M.
Good 4 U, the popular and upbeat song by superstar songwriter and performer Olivia Rodrigo, has topped the Billboard charts and appears on the artist's debut album Sour. She has been active as a professional singer and songwriter since she was 12 years old and can serve as an inspiration to young musicians. Like many pop songs, the care in performing syncopation and various articulations will provide a more authentic sound. Arranged by Chris M. Bernotas, the energetic music, powerful infectious chorus, and pure emotion will permeate the concert hall. Duration: 3.15
Estimated dispatch 7-14 working days
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£124.99Shamadan Dance (Euphonium Solo with Concert Band - Score and Parts) - Doss, Thomas
The Shamadan is an old oriental folk dance full of symbolism in which a female dancer, often on the occasion of a wedding, balances a candelabra on her head as a token of spiritual light. In this work, the euphonium takes up the role of the dancer. At the very beginning, the soloist already has the opportunity to shine in an unaccompanied recitative. Next, the soloist and band alternate, and in the course of the work the band also plays an important part with various technical highlights. More variation is created with a solo passage accompanied by percussion and hand claps, culminating beautifully in a grand tutti towards the end of the piece. Challenging music with much to enjoy! Duration: 8.30
Estimated dispatch 7-14 working days
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£68.99Song of Gratitude (Concert Band - Score and Parts) - Doss, Thomas
Song of Gratitude was written for an old friend. Many friendships that start off at a young age last for life and thus form a sort of connecting thread throughout one's existence. In this particular work, this notion is mirrored in a short motif that expands more and more and becomes more passionate until it finally settles down in a thankful closing passage. Duration: 4.00
Estimated dispatch 7-14 working days
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£55.50At the Feast of Stephen (Flexible Ensemble - Score and Parts) - Watson, Scott
This version of At the Feast of Stephen by Scott Watson is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys. This novel setting of the traditional carol Good King Wenceslas will musically transport you and your students to the royal Christmas banquet hall of a medieval king! The old carol tells the story of a legendary 10th-century monarch, Duke Wenceslas of Bohemia, who went out in the severe cold to give charity to the poor on December 26, also known as St. Stephen's Day. The well-known 13th-century tune, as well as additional original material in period style, vividly conjures a lively celebration of Christmas in the high Middle Ages. Come now ye lords and ladies to the Feast of Stephen and upon your instruments faire make most merry this Yuletide! Duration: 2.30
Estimated dispatch 7-14 working days
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£60.99Songs of the Sea (A Sea Shanty Rhapsody) (Concert Band - Score and Parts) - Vinson, Johnnie
Sea shanties have long been a source of tuneful melodies and rollicking rhythms. Johnnie's setting for band features a wide variety of styles and textures, and is a great choice for contest or festival. Included are traditional folk melodies from "The Drunken Sailor," "The Bonnie Ship the Diamond," "Rolling Down to Old Maui," and "Wellerman."
Estimated dispatch 7-14 working days
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£139.99Papyrus (Bearer of Wisdom) (Concert Band - Score and Parts) - Doss, Thomas
The history of paper ranges over more than five thousand years: likely starting around 3500 BC in old Egypt with the use of papyrus. The oldest findings of written paper date from 2700 BC. In China, the first production of paper took place in the year 105 AD. The Arabs acquired their knowledge of the art of making paper around 750 AD, thanks to Chinese prisoners of war. Around the same time, the Celtic Ogham script was created in Ireland and carved into stones or trees. In Europe, the first paper mill was not put into operation until the 12th century! No matter how different the production methods and its historical use, paper was always a way to pass on wisdom, art and knowledge. Even today, in the age of digitalisation, paper still has a somewhat 'sacred' image. With Papyrus, Thomas Doss has written a wonderful composition in which the history of paper is reflected, and listeners can very much hear the various periods of this history represented throughout the piece. Duration: 8.30
Estimated dispatch 7-14 working days
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