Results
-
£78.50Dragon Fight (Concert Band - Score and Parts) - Schwarz, Otto M.
At the best viewpoint over the Alps of Liechtenstein, the village of Guflina is situated. Underneath the overhanging ledge, there is said to have been a cave in the mountain. In it lived a terrible dragon that was on the rampage on the surrounding meadows, spreading fear and terror among the population. At the same time there lived a giant man up in Guflina, who had the strength of twelve normal men. The farmers implored him to help them in their distress. The giant ventured to fight the dragon and was lying in wait above the cave. When the dragon refused to appear, the giant threw stones into the entrance of the cave. They got into a fight, which the giant only just won with difficulty. Since that day, people have lived in peace and prosperity.Duration: 7.15
Estimated dispatch 7-14 working days
-
£127.991805: A Town's Tale, Symphonic Suite from (Concert Band - Score and Parts) - Schwarz, Otto M.
In 2013 the short film 1805 A Town's Tale was released, produced by Refos Film, with music by Otto M. Schwarz. A fateful autumn day in the year 1805: the morning mists hang heavy over the sprawling field near Drnstein. The captain's tent and some smaller tents are seemingly lifeless in their deep slumber. In dawn's half-light, the fires now only steam and barely glow. A figure sneaks past the main tent. This is Phillipe, a soldier of Napoleon's troops, leaving the camp early to warn Mina, his lover, and the other inhabitants of the town of Krems of the planned raid. The Symphonic Suite is a compilation of various main themes from the soundtrack.Duration: 9.45
Estimated dispatch 7-14 working days
-
£242.50Orpheus in Town, Dance Suite from (Concert Band - Score and Parts) - Rosenberg, Hilding - Johansson, Jerker
Dance Suite in Seven Movements. Op.75. Orpheus In Town. In 1936 the Stockholm Concert Hall was given its most distinguished artistic adornment, Carl Milles' Orpheus fountain. A Greek god lets his voice and the sounds of his lyre float over the rush and bustle of the big city far up in Ultima Thule. Two choreographers at the Stockholm Opera, Julian Algo and Vera Sager, had a brainwave. Why should Orpheus merely be a statue, a symbol of the beauty and inspiring power of music, why not give the myth about him its special Stockholm chapter as well? This is what happened: On the stage we see the columned facade of the Concert Hall and in front of it the statue group with Orpheus and the eight enraptured listeners. Suddenly the figures come to life, jump down from their pedestal and dance into the crowd at the marketplace. Orpheus, who is consumed by longing for Eurydice, begins looking for his beloved, first among other well-known sculptures in town, then in restaurants and nightclubs. At last he thinks he recognises her in a fashionable society woman and brings her to the Concert Hall. However, faced with the threat of having to spend her life in bronze at Orpheus' side, she runs away. She wasn't Eurydice after all. Or was she? For this ballet, which had its first performance at the Stockholm Opera in 1938, Hilding Rosenberg wrote vital and entertaining music in a style which is unusually to the point, and with a bright and strong orchestration. The music in the Dance Suite from Orpheus in Town is taken from the dance scenes at the nightclub: guests and a bartender perform, finally also Orpheus and his entourage. The suite consists of: 1. Rhythm of the Times (2.00); 2. Bartender's Dance (1.30); 3. Girl's Dance (1.00); 4. Dance of the Negress (2.30); 5. Trio Dance (1.30); 6. Tango (2.00); 7. Finale (1.30). Total duration: 14.00.
Estimated dispatch 7-14 working days
-
£295.00Enduring City (Concert Band - Score and Parts) - Glyn, Gareth - Noble, Paul
Enduring City was composed to celebrate the 300th anniversary of the founding of New Bern, the first permanent seat of the colonial government of the state of North Carolina. It was first settled in 1710 by Swiss and German immigrants under the leadership of Christoph von Graffenried and and John Lawson. The 2010 composition was commissioned by the New Bern 300th Anniversary Committee and the City of New Bern, to portray the city in terms of its history, its present and its optimism for the future; the North Carolina Symphony gave its first performances, in venues throughout the state. Its one continuous movement is in well-defined sections. Most of the musical themes derive from names of people and places connected with New Bern, using letters that are also note-names, omitting those which are not. For example, the opening trumpets spell out E-B-E-D for New Bern ('R' standing for Re, which is D in fixed-doh sol-fa notation) and B-C-G for Baron Christoph von Graffenried. They are answered by the orchestra's "John Lawson, Gent.", the name on the cover of the co-founder's A New Voyage to Carolina. Lawson's questing and adventurous character is then suggested, accompanied by a "Carolina" note-name theme; and, after the Graffenried theme on solo horn, the music of both men combines for their voyage, culminating (on trumpets and trombones) in the founding of New Bern. The story of Tryon Palace, central to the city's history, is represented by echoes of the various kinds of music heard at the Governor's residence - fife and drum bands, minuets and the slaves' "Jonkonnu" festivals from Africa, celebratory fanfares and fireworks; the section reaches a climactic ending when all are combined. After a peremptory interruption by the snare drum, the perky fife theme is transformed to portray the conflicts that visited New Bern over the centuries, alternating with a new "grief" theme, which - when sounded by strings alone - leads to music of reconciliation and then of the natural beauty of the city's surroundings. A steady, lively rhythm underpins the final section, confidence - in the present and for the future. Echoes of previous themes are heard, but the closing peroration is reserved for a majestic and joyous statement of the name of New Bern itself.
Estimated dispatch 7-14 working days
-
£89.99Hymn of Cittaslow (Concert Band - Score and Parts) - De Haan, Jacob
Cittaslow is an international network of more than 220 towns in 30 countries. Its members are towns where people are still finding themselves reminiscing over the old times; towns that are rich in theatres, squares, cafes, restaurants and spiritual places; towns with untouched landscapes and charming craftsman where people are still able to recognise the slow course of the seasons, and respect their authentic products, true taste as well as their health. The Hymn of Cittaslow, which was commissioned by the organisation itself, is entirely inspired by their commitment to the preservation of the member towns. The tempo is naturally slow, and the themes somehow sound familiar. On the one hand, the music emanates peace and quiet, but it also sounds grand in its lyricism, thereby reflecting the beauty of the Cittaslow towns.Duration: 4.00
Estimated dispatch 7-14 working days
-
£75.00Silent Night (Concert Band with Optional Choir - Score and Parts) - Gruber, Franz - Noble & Willcocks
Silent Night (German: Stille Nacht, heilige Nacht) is a popular Christmas carol, composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in the small town of Oberndorf bei Salzburg, Austria. It was declared an intangible cultural heritage by UNESCO in 2011. Over the years, because the original manuscript had been lost, Mohr's name was forgotten and although Gruber was known to be the composer, many people assumed the melody was composed by a famous composer, and it was variously attributed to Haydn, Mozart, or Beethoven. However, a manuscript was discovered in 1995 in Mohr's handwriting and dated by researchers as c. 1820. It states that Mohr wrote the words in 1816 when he was assigned to a pilgrim church in Mariapfarr, Austria, and shows that the music was composed by Gruber in 1818. This is the earliest manuscript that exists and the only one in Mohr's handwriting. The song has been recorded by a large number of singers across many music genres. This haunting setting by David Willcocks also includes slight textual alterations to the piece that has been translated into about 140 languages. This arrangement represents one in the Series of Band Arrangements compatible with David Willcocks' Carols for Choirs.
Estimated dispatch 7-14 working days
-
£110.00Psalm 150 (Concert Band with Optional Choir - Score and Parts) - Rutter, John - Noble, Paul
Psalm 150 was composed for the Golden Jubilee Service for HM The Queen, 4 June 2002. With the premiere performance in St. Paul's Cathedral, London, the composer wanted to capture the acoustical qualities of the cathedral by placing three soprano soloists high in the dome, from which they sang as a trio at key points in the music. This arrangement, when performed by Concert Band alone, has those parts written for three solo trumpets to be placed in the rear or balcony of the concert hall. The work is filled with pageantry and ceremony, ending with the sound of cathedral bells ringing dramatically over the powerful scoring for band.
Estimated dispatch 7-14 working days
-
£164.95Elgar Variations (Concert Band - Score and Parts) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
-
£32.95Elgar Variations (Concert Band - Score only) - Ellerby, Martin
The year 2007 marked the 150th anniversary of the birth of the British composer Sir Edward Elgar (1857-1934) and as such I thought it an appropriate moment to write something in tribute to this event. There are quite a few enigmas about this piece and they are all intentional! First and foremost is that the variations are not constructed on any of Elgar's actual themes. Rather I have written a sequence of contrasting sections (all played without a break) on the essence and character of his musical style. I have also written this work with bands, the soloists within, conductors and, not least, their audience firmly in mind. The language is essentially tonal and the test musical rather than overtly technical. There are no tempo indications other than suggested metronome marks. I have deliberately kept things to a minimum as the true test here is to find the style and interpret that aspect over the whole structure. Whereas the faster sections are more or less self explanatory the slower parts require deliberate rubato and much feeling. This is for the conductors to discover and I encourage them to do so. Adjudicators should be fully aware that I sanction this aspect but it requires an insight and understanding to successfully execute so 'any old thing' will not suffice! The 'variation' commencing at rehearsal letter P is the emotional core of the piece and requires a passionate but not saccharine approach to pacing and sensuality. The cadenza type material is built into the process rather than being a separate sequence of entities. There are many allusions to the music of Elgar here without recourse to blatant pastiche - if it is thought of as a series of songs and dances this may help. The final comment is the dedication, after one of Elgar's own but subtly adjusted: to my friend pictured within - never to be revealed - now there's an enigma!- Martin EllerbyDuration: 14.00Recorded on Polyphonic QPRM155D Scenes from Childhood (Great British Music for Wind Band Vol.15), Royal Northern College of Music Wind Orchestra
Estimated dispatch 7-14 working days
-
£68.00Requiem Aeternam (from Edgar) (Concert Band - Score and Parts) - Puccini, Giacomo - De Meij, Johan
Giacomo Puccini was commissioned to write a second opera after the resounding success of his first, Le Villi. However, the original four-act, grand opera Edgar, to a libretto by Ferdinando Fontana, received a rather lukewarm reception at its premiere in La Scala in Milan in 1889. Initially, the work was only performed three times. Of all the planned performances in the subsequent two years, only one took place, in Lucca, Puccini's birthplace. There, the work was well received. Nevertheless, the composer decided to make drastic changes to Edgar the most radical being the reduction of the opera to three acts, as well as altering a few arias, characters and instrumental parts. In its revised form, the work was even less popular than before. The discarded fourth act later provided material for Tosca (the duet Amoro sol' per te), but Puccini never felt the need to defend Edgar as he did other less fortunate operas, such as La Rondine and Suor Angelica. On a piano excerpt for his female friend Sybil Seligman he even corrupted the title to 'E Dio ti Guarda da quest' opera' (may God preserve you from this opera). This did not prevent Arturo Toscanini performing the Requiem from the third act at Puccini's funeral in Milan Cathedral on 3 December 1924. The Requiem in the third act is being played when the long funeral procession carries the alleged body of Edgar, the confused young man hesitating between the love of the virtuous Fidelia and the exotic Tigrana. The mass hails Edgar as a hero, but a monk claims that he has betrayed his country for a few gold pieces. When the soldiers try to desecrate the body, they discover that the armor contains none. The monk reveals himself as Edgar. He wants to leave with his faithful Fidelia, but the vengeful Tigrana stabs him and kills Fidelia. Edgar grieves over the lifeless body of his beloved, while Tigrana is arrested and the people submerge into prayer. Duration: 3.30
Estimated dispatch 7-14 working days
View Music