Results
-
£159.99Guardian Angels (Concert Band - Score and Parts) - Houben, Kevin
Guardian Angels gives a musical expression to the legend of Reverend Louis Henri Bahler referring to the use of Psalm 34. North-west Veluwe and in particular Oldebroek (The Netherlands) has a very rich religious tradition which is demonstrated by its monumental churches. They tell the story of a stirring history in which Reverend Bahler played a crucial role. Inspired by his arrival as a pastor in 1870 in the neighbouring Oosterwolde, two big religious communities came into existence with their characteristic churches but this rivalry also resulted in great social unrest. This composition reflects on this striking personality and in particular on the story of the Angel Guard. 'One evening Reverend Bahler has given a sermon in Oldebroek and he walks over the Church path through the pastures to Oosterwolde. On this dark and stormy evening Bahler's opponents are waiting for the pastor in ambush. They want to drown him in a watercourse near the Church path but abandon their plan because Bahler is accompanied by two men. The next day it comes to an encounter between Bahler and his opponents. They repent their, fortunately unexecuted, plan. Bahler firmly believes that on the previous night he walked alone over the Church path, and was not accompanied by two men. It was concluded that it must have been the angels who had protected Bahler.' Psalm 34 is central to this composition and this because of its powerful melody but also because the lyrics of verse 4 of the rhymed version fit in well with the special legend of Reverend Bahler: The Lord's angel gathered round him An invincible heavenly guard, Who tries God's will, around him So he's well guard(ed) A second melodious and harmonic cell is a musical transformation of the name 'Bahler'. This cell is varied in major and minor third chords and sometimes used as the main idea or apotheosis, but also serves as an accompanying cell or as a bridge between other melodic and rhythmic constructions. The composition was made possible by contributions of: Mr Evert van de Poll, owner of the Van Gelder Groep, Het Prins Bernhard Cultuurfonds Gelderland en Het Feteris Oosterbaan Fonds. Duration: 16.30
Estimated dispatch 7-14 working days
-
£148.99Nepotism (Movement II from Symphony No.1, The Borgias) (Concert Band - Score and Parts) - Schwarz, Otto M.
A sinister legend hangs over the Borgia family, a legend of corruption, abuse of power, orgies, sex and murder. These rumours proliferated especially during the papacy of Alexander VI, a descendant of the family, who was even called the Antichrist. On his death, contemporary witnesses reported that the devil himself prowled around the death chamber and a black dog run along the corridors of the Vatican as his emissary. One might say that this Borgia pope, who ruled together with his family with the greatest brutality, became demonised. Unscrupulousness, poison-toting, incest and other malice are to this day the hallmarks of this pontiffNepotism: Rodrigo Borgia was elected Pope on 11 August 1492. From the very start, the new pope was prepared to use any means to eliminate his opponents, either through the infamous Borgia poison or by excommunication and execution. His son Cesare, who wanted little to do with the church, was appointed cardinal against his will. Alessandro Farnese, broth of Giulia Farnese, the Pope's mistress, also became a cardinal. Numerous Spaniards were brought into the country and were appointed to ecclesiastical posts. This infuriated the opponents of Alexander VI. The Dominican Girolamo Savonarola from Florence demanded the removal of the Pope. He was tortured and banned. Giuliano della Rovere wanted to convene councils to depose the Pope, which Alexander managed to prevent through artful political manoeuvrings. Through great brutality, brilliant political skill and power games, this pope was able to achieve his goal of leaving for his children a great legacy. Alexander VI constantly changed his allies and always acted unscrupulously to improve his financial situation and expand his sphere of influence. At the centre of the second movement of this work is the medieval hymn Dies Irae (Day of Wrath), which acts as a warning in the background condemning the Pope's actions.Duration: 9.15
Estimated dispatch 7-14 working days
-
£163.99The Pied Piper of Hamelin (Concert Band - Score and Parts) - Schwarz, Otto M.
Stories, sagas and legends--who among us don't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the 'Soup-Kasper' of Hoffmann's Struwwelpeter dies from starvation rather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless.In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scorn and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems--rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in colourful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rats and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognise this man's skills and knowledge and were only prepared to pay for simple labour. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town's children were so enchanted by his playing that they followed him. He led them out of the town and disappeared with them forever into a mountain forever. Of all the children, only two survived--however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event. The work may be performed in two different versions: 1. Purely instrumental (without narrator)--the GPs (pauses) must be kept short 2. With narrator--he speaks in the GPs but not during the music.Duration: 14.15
Estimated dispatch 7-14 working days
-
£309.99Ninth Symphony (Concert Band - Score and Parts) - Barnes, James
Premiered on 21 September, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, "This is my last symphony...this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band." The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that "I have always wanted to write a waltz," and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto Flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an "otherworldly" mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color. Duration: 40.00
Estimated dispatch 7-14 working days
-
£69.95Aylesbury Dances (Concert Band - Score and Parts) - Wiffin, Rob
The suite Aylesbury Dances was commissioned by the Aylesbury Concert Band to mark the occasion of their 25th Anniversary in 2019. Its three movements depict different aspects of Aylesbury: I. Pavane: The Town - Having read something of the town's history and its architecture I decided I wanted to write something ceremonial with the feel of music from Tudor times. Aylesbury was given its charter and borough status in 1554 by Mary Tudor so I took that as my starting point but then added some harmony that moves forward in time. This fits with the town's motto: Semper Prorsum (Always forward) and also with the Band's evolution from Aylesbury Town Band to Aylesbury Community Concert Band to Aylesbury Concert Band. The music can be defined as a pavane, or a cortege. The sense of procession is slightly disturbed by a 'Blue Leanie' moment. The Blue Leanie is an iconic Aylesbury building, an oblique rhombic prism which stands at an angle of 17% inclination. I took a quaver out of the time signature (I know the maths don't work!) to reflect this and added some bluer harmony at that point. This opening movement gives a sense of the grandeur and heritage of Aylesbury town and a chance for my friends from the brass section to warm up! II. Siciliana: Waterside - To balance the outer two movements, the middle movement of the suite has a slow lilting 6/8 rhythm. It is in the style of a Siciliana, a dance form originating in the baroque era. It is a graceful, tender and melancholic dance, cast here in a minor key and featuring the dark voice of the cor anglais. The Siciliana was often linked with pastoral scenes and Aylesbury itself sits amid some beautiful countryside. It may, therefore, seem a bit of a stretch to call this movement 'Waterside', especially as Aylesbury is so far from the sea, but the town has a theatre of that name and that was the genesis for this particular music. There is a statue of Ronnie Barker in the grounds of the Waterside theatre as he started his career in repertory theatre in Aylesbury, so I included a fleeting reference to the theme music of the comedy programme 'Open all Hours'. III. Frolic: Ducks in a Row - It was impossible to write a piece connected with Aylesbury without considering the famous Aylesbury ducks. Duck rearing was a major industry in the town in the 19th century. The white Aylesbury Duck is a symbol of the town, appearing on its coat of arms and in the logo of the Aylesbury Concert Band! This movement is all about trying to get the little darlings in a row so they can sing their 'Duck Chorus' together but they keep on scattering, flying off or swimming away as quickly as they can manage. It's a bit like watching ducks disperse when my dog jumps into the stream after them. Eventually we get more of them in a row - even though they protest. Hidden amongst the ducks is a reference to Erica Miller, saxophonist and chairman of the band, and there's even a veiled reference to a shark in the hope of getting them out of the water. Ducks in a Row is a fun romp bringing this suite of Aylesbury Dances to a suitably celebratory conclusion.- Rob Wiffin.Duration: 9.15
Estimated dispatch 7-14 working days
-
£164.99Three Washington Statues (Concert Band - Score and Parts) - Sparke, Philip
Three Washington Statues was commissioned by the United States Army Band "Pershing's Own", led by Colonel Thomas H. Palmatier. Washington D.C. contains some of the world's most iconic monuments, memorials and statues. Philip Sparke has chosen three of these as the inspiration for this piece: 'The Lincoln Memorial' in the form of a Greek Doric temple in which the composer depicts the grandeur of this monument; 'The Martin Luther King, Jr. Memorial' on which steps the iconic speech 'I have a dream' was given - the music is both reverential as well as powerful referring to Martin Luther Kings' speech; and the 'Encore' statue in memory of the world famous African-American composer, pianist and bandleader Duke Ellington. In this final movement, Philip Sparke catches the virtuosic, energetic and unique dynamism of Ellington's' music. Three Washington Statues was commissioned by the United States Army Band "Pershing's Own", led by Colonel Thomas H. Palmatier. Washington D.C. contains some of the world's most iconic monuments, memorials and statues. Philip Sparke has chosen three of these as the inspiration for this piece: 'The Lincoln Memorial' in the form of a Greek Doric temple in which the composer depicts the grandeur of this monument; 'The Martin Luther King, Jr. Memorial' on which steps the iconic speech 'I have a dream' was given - the music is both reverential as well as powerful referring to Martin Luther Kings' speech; and the 'Encore' statue in memory of the world famous African-American composer, pianist and bandleader Duke Ellington. In this final movement, Philip Sparke catches the virtuosic, energetic and unique dynamism of Ellington's' music.Duration: 8:45
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
-
£134.99Gulliver's Travels (Concert Band - Score and Parts) - Appermont, Bert
The book Gullivers Travels (1726) by author Jonathan Swift formed the provocation for writing this composition. Even though this composition isnt a literal representation of the original story, a number of elements were still retained. The ships doctor Gulliver finds himself in 4 (fictive) areas, each with their own inhabitants and customs. Each part of this suite also received the name of one of these areas:I. Lilliput The enterprising Lilliputians are represented by a playful, common theme in the first part.II. BrobdingnagIn the land of "Brobdingnag" Gulliver is carried off by gigantic giants, which you hear approaching with the sounds of the bassinstruments. The same theme is constantly repeated and quickened in order to increase the tension.III. LaputaLaputa is an island that floats in the air; its inhabitants are strange people with slanting heads. The dreamy, special atmosphere is especially well conveyed here.IV. The HouyhnhnmsFinally Gulliver finds himself in the land of the Houyhnhnms, where intelligent and noble horses rule over the primitive, undeveloped people (yahoos). The trumpets in the brilliant opening express the galloping horses; the gallant theme that follows (horns and trombones) symbolises the primitive yahoos. The whole composition ends with a big finale.I intentionally tried to limit the degree of difficulty of Gullivers Travels. Despite this I think that this work can appeal to many orchestras due to the colourful orchestration (cues are provided where needed), the simple and clear theme and the highly imaginative breeding ground of a beautiful story around which this composition is built." Duration: 8:00
Estimated dispatch 7-14 working days
-
£264.99Poeme Montagnard (Concert Band - Score and Parts) - Van der Roost, Jan
Jan Van der Roost received the commission for this work from the Orchestre d'Harmonie du Val d'Aoste and dedicated the composition to Lino Blanchod, the conductor of the orchestra. The first performance was on 26th January 1997 by the orchestra itself and under the direction of the composer. This extensive symphonic poem depicts the atmosphere and history of the autonomous French speaking region Val d'Aoste in northern Italy, and is meant as a musical homage to the historical figure Catherine de Challant. The opening of this piece describes the rugged nature of this region dominated by Mont Blanc, the roof of Europe. A brief, combative passage conjures up the numerous wars fought here through the ages, later expanding into a surprising 'Renaissance Dance' with an original and fitting recorder quartet. A broad, lyrical theme portrays the love that has always played an important role here. After recapturing several of the earlier themes, the piece closes with the renaissance dance, this time played by the brass. A spectacular finale brings this symphonic poem to a close.Duration: 18:30
Estimated dispatch 7-14 working days
View Music