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£84.50
The Legend of Taum Sauk - Larry Clark
A strong new concert/contest piece written to depict the legend of Taum Sauk mountain in central Missouri. It is a classic Romeo and Juliet saga that involves two different tribes of Native Americans. Larry Clark works to bring out the drama of this story through his music. It is at first fast-paced and pulsing, with a 6/8 groove followed by a love song built on the same musical material, then leading back to the uptempo music for a conclusion. A solid work for young band that can introduce 6/8 time and has cross-curricular possibilities.
Estimated dispatch 7-14 working days
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£118.99Louis Armstrong Medley - Hoagy Carmichael
Even 40 years after his death, Louis Armstrong remains one of the most popular jazz trumpeters and singers of all time. In Louis Armstrong Medley, Naohiro Iwai has beautifully arranged Armstrong's unmistakable version of the Russian folk song, Dark Eyes (1954). This is then followed by two of his greatest hits: the jazz standard, Georgia on My Mind (1930), which features a tenor saxophone solo, and When You're Smiling (1929).
Estimated dispatch 7-14 working days
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£137.99La Traviata Highlights - Giuseppe Verdi
La Traviata is one of the most well-known operas by Giuseppe Verdi.The story of the opera depicts the conflict between free love and bourgeois morality. The young poet Alfredo and the Parisian courtesan Violetta fall in love with each other. They are happy together for a while, but Violetta gives up Alfredo, at the request of his father, to save the honor of his family. Only when it's too late are the two reunited, with Violetta suffering from tuberculosis and dying in the arms of her lover. La Traviata Highlights consists of three movements, which can be performed as one large work, but can also be played separately. It makes use of many beautiful dance melodies and delightfulmoving arias from this captivating opera.
Estimated dispatch 7-14 working days
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£71.50American Folk Tune Adventure - David Gorham
From the mountains of the Appalachians to the shores of the seas, Americas history is reflected in its folksongs. Two of these song, Sweet Betsy From Pike and Frog Went A-courtin are presented here and provide young bands an excellent opportunity to work on contrasting styles, with a slow, expressive section followed by a happy, rollicking ending.
Estimated dispatch 7-14 working days
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£71.50Journey To Aeolia - Barry E. Kopetz
This work is written in the Aeolian mode, and is meant to spur the imagination of young musicians who perform the music. It is a musical representation of an adventure by two Lochrian boys who have witnessed a shooting purple star passing in front of the moon. This leads to mysterious happenings and adventures.
Estimated dispatch 7-14 working days
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£66.30
Fanfares in Remembrance - Peadar Townsend
Fanfares in Remembrance was commissioned by Nick Jarvis, Principal conductor of the Band of the Royal British Legion, Christchurch, Dorset, UK to be premiered during the Last Post Ceremony at the Menin Gate, Ypres, Belgium on May 27th, 2017. The work is a short reflection two World War One bugle calls, 'The General Salute' and 'Retreat' or 'Sunset' as it is also known. The significance and symbolism of bugle calls from this era are well known and they are still used in Barracks across the world. I have used sections of these famous British bugle calls on two trumpets either side of the band playing in two different musical keys. The band then plays an intermittent low drone like chord, again in a different musical key to the two trumpets. In my mind this opening depicts two buglers at dawn at either end of a misty field directly after a brutal slaughter. The two buglers are almost calling out for their missing comrades only to realise they are gone...... The work moves into a haunting oboe melody signifying loss. The oboe is joined by the full band in a tune of strength, solidarity, yet profound sadness. The work concludes with a recap of the opening idea; however, the two buglers are now united in musical key sounding 'The General Salute'. The music ends as the wind blows gently. The memories live on forever......
Estimated dispatch 7-14 working days
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£248.99Missa Brevis - Jacob de Haan
Missa Brevis, written for choir and wind band, was commissioned by the Conseil Dpartemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX'sbirth in guisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:1. clarinet choir (from Eb Clarinet to BassClarinet)2. clarinet choir + saxophones3. brass (flugelhorns, horns, euphoniums, bass section)4. brass (2 trumpets / 2 trombones)5. double reeds (optional + flute, optional + string bass)6. tutti7. all winds8. allbrassIn a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.Choral parts available separately.
Estimated dispatch 7-14 working days
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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated dispatch 7-14 working days
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£94.99
Conzensus (Concert Band - Score and Parts) - Van der Roost, Jan
This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept. The name, ConZEnSus, comes from a combination of the words, 'Concert Cyclus' (concert series) and 'zes' (Dutch for 'six'). This leads to a new word, which refers to 'consensus'. The general tenor of the cycle is thus immediately indicated. The richness of colour of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.Duration: 2:30
Estimated dispatch 7-14 working days
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£94.99Conzensus - Jan Van der Roost
This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept.The name, ConZEnSus, comes from a combination of the words, 'Concert Cyclus' (concert series) and 'zes' (Dutch for 'six'). This leads to a new word, which refers to 'consensus'. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.
Estimated dispatch 7-14 working days
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