Results
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£89.99Hobbits Dance & Hymn - Johan de Meij
The famous trilogy The Lord of the Rings by English writer J. R. R. Tolkien, published in 1955, has brought enjoyment to several generations of readers. Johan de Meij himself took the inspiration for his first symphony for Concert Band, The Lord of the Rings, from this great series. This easy arrangement of two movements from the symphony, Hobbits Dance & Hymn, has been carefully carried out by Paul Lavender. An ideal work for all junior bands who wish to play the music of the Concert Band master, Johan de Meij.
Estimated dispatch 7-14 working days
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£528.99Planet Earth (Complete Edition) - Johan de Meij
Johan de Meijs third symphony, Planet Earth, unmistakeably marksa new peak in his large musical output. The symphonic version waspremiered in 2006 and has now been arranged for wind orchestra by the composer.Planet Earth is an impressive ode to Mother Earth. De Meij has pulled out all stops to sing the earth's praises in a heartrending manner. Splendid melodies, intense intermezzi, surprising sound patterns and noises/sounds from another world create a breathtaking musical experience with an amazing climax.A thrilling and rousing symphony!
Estimated dispatch 7-14 working days
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£159.99Ouverture To The Three Angels - Jelle Tasseyns
This overture was written in 2000 and pays homage to the composer Paul Hindemith. The composition is based on "Es sungen drei Engel. The song dates back to the 12th century and was originally a Christmas carol. Mahler used this melody in his 'Des Knaben Wunderhorn' and in the finale of his third symphony. Paul Hindemith also uses this melody as a chorale in the 'Engelkonzert' of his 'Mathis der Maler' symphony. This melody is not only used extensively in the 'Overture to The Three Angels', it also forms the main theme of the entire central piece. In this central piece, the melody can first be heard as a fugue by the woodwind instruments and then by the brass instruments andultimately ends in a grand tutti which features all the themes of the entire work. The first and the last part of the composition are not based directly on the chorale melody but constitute a contemporary commentary of the central part. These are not literal references but rather the sounds of the heralds.
Estimated dispatch 7-14 working days
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£79.99Free Running - Robert Buckley
Free Running is an exciting, high velocity tour-de-force that will keep both musicians and the audience on the edge of their seats. Inspiration for the work came from the pointillistic paintings of Seurat (who created images by using tiny spots of primary colors on his canvas) and from Parkour, a form of urban acrobatics in which participants, known as free runners, use the structures of the rural landscape to perform catlike leaps and sprints. The resulting creation is a non-stop piece of music made up of only staccato notes in a constant rhythm moving through different sections of the ensemble. Free Running was commissioned by the Troy University Symphony Band for the 2011Alabama Music Educators Association Convention. Ideal for concert or festival use, it is guaranteed to leave the audience breathless! Dur: 5:10Recorded by the Troy University Symphony Band - Ralph Ford, conductor
Estimated dispatch 7-14 working days
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£13.95
Joy to the World
1Joy to the WorldHandel arr. StirlingThe Central Band of the Royal Air Force2.162A Carol Symphony - I. PreludeHely-Hutchinson/WilliamsThe Central Band of the Royal Air Force4.003Shepherd's HeyPercy GraingerThe Central Band of the Royal Air Force2.104A Fireside Christmasarr. Sammy NesticoThe Central Band of the Royal Air Force8.075Dance of the TumblersRimsky-Korsakov/O'DonnellThe Central Band of the Royal Air Force3.486-9A Joyful ChristmasNeil RichardsonThe Central Band of the Royal Air Force I. Ding Dong Merrily on High 1.57 II. Unto Us a Child is Born 3.09 III. O Little Town of Bethlehem 3.24 IV. Masters in This Hall 1.5010Hallelujah ChorusHandel trs. RichardsThe Central Band of the Royal Air Force3.5811Carols from Olde Englandarr. Duncan StubbsThe Central Band of the Royal Air Force9.1112Jesu, Joy of Man's DesiringBach trs. MorrellThe Central Band of the Royal Air Force3.2913Dance of the Sugar Plum FairyTchaikovsky trs. RichardsThe Central Band of the Royal Air Force1.5014-16A Christmas SuiteDavid BarkerThe Central Band of the Royal Air Force I. Chaconne 1.52 II. Scherzo Variations on We Three Kings of Orient Are 2.53 III. Fanfare and Fugue 4.1017Chrismas-TimeStuart L. StirlingThe Central Band of the Royal Air Force5.23
Estimated dispatch 7-14 working days
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£79.99
Sir Roger de Coverley - Frank Bridge
Frank Bridge (1879 – 1941) was one of the leading English composers of his time. In October 1922 he adapted his popular string quartet Sir Roger de Coverley for full symphony orchestra and Sir Henry Wood agreed, at the last minute, to include it in the last night of the Queen’s Hall Promenade Concerts at the end of that month. This elaborate and colourful orchestral version has never been widely performed, but has now been brilliantly transcribed by Alastair Wheeler to provide a miniature dance poem for grade 5 level concert band. Bridge’s lively treatment of one of England’s most famous traditional dance melodies will make a fitting end to any concert, with the strains of Auld Lang Syne introduced by Bridge as a nod towards Sir Roger de Coverley’s traditional function as the final dance of a Christmas Ball, as it was in Old Mr. Fezziwig’s party in Dickens’ A Christmas Carol.
Estimated dispatch 7-14 working days
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£95.99One Last Journey (Concert Band - Score and Parts) - Hoffmann, Robin
A moving composition portraying the beauty but also ephemeral nature of life itself. Based on a simple seven tone idea, the work develops from a gentle almost intimate mood towards a life- affirming climax. Robin Hoffmann, born 1984, studied composition and arranging at the Dresden College of Music. Since 2006, he has worked as composer, orchestrator and arranger for international film and concert productions. In 2010, the London Symphony Orchestra recorded his violin concerto at Abbey Road studios. His film music for Hero and A Father's Job won numerous international prizes. He was awarded a gold record in 2022 as arranger for Alex Christensen.Duration: 4.00
Estimated dispatch 7-14 working days
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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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£95.995 Tantum Ergo (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. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (SSATB) mixed choir and organ No. 5 in D major: Solemnly They 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.Duration: 11.00
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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