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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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£125.00
Danceries (Set II) - Kenneth Hesketh
Danceries Set II was commissioned by Keith Allen and Birmingham Symphonic Winds, supported by PRS for Music Foundation and the RVW Trust. The world premire of this work was given by Birmingham Symphonic Winds, conducted by Keith Allen, at the CBSO Centre, Birmingham in 2011. This second set of Danceries continues the format established in Danceries (Set I), namely in using material taken from Playford's Dancing Master, a collection of folk and popular tunes published in the seventeenth century, to form the basis of an extended dance suite. In this set, the melodies have been more abstracted and project only a distant echo of their original forms, but as before, each movement is self-contained, colourful and direct, with its own distinct mood.The outer movements - Jennie's Bawbee and Peascod's Galliarda - share a use of driving percussion writing with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer, even more exhilarating set of dances. Danceries has come of age!
In stock: Estimated delivery 1-3 days
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£125.00
Shakespeare Pictures - Nigel Hess
While Music Director and House Composer for the Royal Shakespeare Company, Nigel Hess wrote music for over twenty productions. Hess has taken music from three works to form a 12-minute suite called Shakespeare Pictures. It begins with the boisterous overture to Much Ado About Nothing, followed by a contrasting slow movement depicting the beautiful statue from A Winter's Tale before displaying huge pomp of Caesar's Rome with The Entry to the Senate. This work is ideal for bands that have played and enjoyed Hess's work East Coast Pictures. This wind band suite was commissioned in 2008 by Birmingham Symphonic Winds. The original music is now expanded and re-orchestrated to form a new three-movement suite for symphonic wind orchestra.
In stock: Estimated delivery 1-3 days
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£119.20Sinfonisches Prludium - Anton Bruckner
The Symphonic Prelude in C minor is an orchestral composition from the circle of the Austrian composer Anton Bruckner. The unearthing of this work, discovered shortly after World War II, has created confusion, leading to a second, reduced version being attributed to Gustav Mahler, a theory which still holds sway in musical circles today, although there is a high probability that the original composition is indeed by Bruckner himself. Rudolf Krzyzanowski (1895-1911), a pupil of Bruckner, transcribed the score in 1876. The 43-page manuscript bears the inscription Rudolf Krzyzanowski cop. 1876 on the first page; while on the last page is written in blue pencil: By Anton Bruckner.Thomas Doss used a facsimile of this autograph copy as the basic of his instrumentation of the prelude for symphonic wind orchestra.
Estimated dispatch 7-14 working days
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£193.20CASTRVM - Lionel Beltrán-Cecilia
CASTRVM is a symphonic episode inspired by four of the main civilizations that have coexisted over time in Ulldecona's Castle. With its melodies and sound effects, the composer tries to transport the listener through a trip to four uninterrupted movements, from the beginnings of this small settlement, creating a natural atmosphere recreated by the voice and the singing of birds to take us into the history with the first inhabitants, the Iberians, giving strength to the introduction of the composition, to move on to the time of the Andalusians, which with a melody in the form of a dance marked by percussion will transport us to take a walk in the surroundings of its circular tower. Next, and with strength, we arrive at the medieval and Christian period, marked in the score by the brass instruments, in this fragment we find moments that take us into the church of "Santa Mara de los ngeles", with melodies that evoke resonance and pomposity, continuing until we find the immense square tower, symbol of the fortress and homage, finally used as a prison and arsenal of those times. Then, there is a small slow march that will move us to some measures of strong stridency to finish with the whole section of low brass having its great moment of prominence, down to we reach the last part, Qna, a name that is recited during the musical piece and one of the names given in the past to the area that could be seen from the castle, where the change of location of the new town is recreated leaving the castle site, but always looking at it with respect and admiration as at the beginning of what is now the current Ulldecona, in this part, the composer plays a bit with a very well-known and significant melody for the inhabitants of Ulldecona, the "Jota Vieja", first making a reflex effect of all its melody and then only with the first six notes of this one, which builds a bridge until reaching the march and, later, the grand finale of this symphonic episode. The work was commissioned by Ulldecona Town Council and the Ulldecona Music Band, led by its conductor Joan Nadal i Girona, to commemorate the 800th anniversary of the donation of the Town Charter of Ulldecona "the old" (1222-2022), as part of the PATRIMONIUM 20.22 programme, "La Banda (Sonora) del Castell" (The soundtrack of the Castle).CASTRVM consists of: I.Iberians: stone and ironII.AndalusiansIII.The square tower: fortress and homageIV.Qna
Estimated dispatch 7-14 working days
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£95.995 Tantum Ergo - Anton Bruckner
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.Hymns for four-part mixed choir a cappella (1846, St. Florian)No. 1 in E flat major (WAB 41/3): Quite SlowNo. 2 in C major (WAB 41/4): AndanteNo. 3 in B flat major (WAB 41/1): SlowNo. 4 in A flat major (WAB 41/2): SlowHymn for five-part (2 S, A, T, B) mixed choir and organNo. 5 in D major: SolemnlyThey are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections.
Estimated dispatch 7-14 working days
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£143.00Psych et ros - César Franck
Csar Franck, composer, pianist, organist and music teacher, completed Cupid and Psych, his sixth and last symphonic poem in 1887. It was first performed in Paris in 1888 and was a complete success, but the piece later fell completely into oblivion, and it was only thanks to some meticulous research that it has returned to concert halls. The intricate love affair between Psyche and Cupid is an original story of the Metamorphoseswritten in the 2nd century AD by Apuleius. The tale is about overcoming obstacles in love and their final union. The symphonic poem is divided into three parts and calls for a choir. The movement that is the subject of this arrangement, Psych et rosis positioned at the end of the second part.Franco Cesarini's version for wind orchestra carefully illustrates the nuances of the instrumental colours, and represents a real test aimed at demonstrating the musicality and interpretative skills of orchestras and their conductors.
Estimated dispatch 7-14 working days
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£65.00Red River - Rob Wiffin
Red River is a piece full of raw energy. The title is about the feeling engendered by the name rather than a reference to a specific place. In the composer's mind it is a river coloured red by the dust of the earth in a hot, sun-drenched landscape. Full of fiery rhythmic drive and syncopation carried along by Latin percussion, performers will enjoy the vigour and verve of the music. Suitable for intermediate level (Grade 3/4) symphonic wind band. Red River is a piece full of raw energy. The title is about the feeling engendered by the name rather than a reference to a specific place. In the composer's mind it is a river coloured red by the dust of the earth in a hot,sun-drenched landscape. Full of fiery rhythmic drive and syncopation carried along by Latin percussion, performers will enjoy the vigour and verve of the music. Suitable for intermediate level (Grade 3/4) symphonic wind band.
Estimated dispatch 7-14 working days
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£105.00Battles - Simon Dobson
Battles was written for the restoration of the epic 1927 silent film The Battles of Coronel and Falkland Islands, and was commissioned by the British Film Institute (BFI) in 2013. The work presents eight contrasting scenes as a continuous sequence: War, Introduction of Admiral von Spee, German Banquet, Building Steam/Preparing, Islanders, Call to Arms, Great Battle at Sea and Victory. The original score was written for a small chamber orchestra, symphonic brass and a substantial batterie of tuned and untuned percussion. Battles has been edited for symphonic wind orchestra with percussion and harp.Composer Simon Dobson says of hiscolourful score, "I wanted to keep things simple and clear, so there is a British theme, a fanfare march idea, often heard on trumpet, and a German naval theme, which is a more angular motif."
Estimated dispatch 7-14 working days
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£152.99Songs From Across The Water - Philip Sparke
Songs from Across the Water was commissioned by Pennsylvania Symphonic Winds - Phil Evans, Founder and Director. Phil Evans hails from the UK and served for 25 years in the Band of HM Royal Marines. Now resident in the USA he founded Pennsylvania Symphonic Winds in 2008, giving them the tag line 'An American Band with a British Accent', as he wanted to combine the best of both countries' band traditions. With this in mind, composer Philip Sparke decided to create a suite of British folk songs, scored with an American influence to fulfil the philosophy of the band's tag line. The three movements, which are played without a break, are based onthe following folk songs, which come from all corners of the British Isles: 'The Three Ravens & The Cruiskeen Lawn', 'The Lark in the Clear Air' and 'The Piper o' Dundee & Men of Harlech'.
Estimated dispatch 7-14 working days
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