Searching for Wind Band Music? Visit the Wind Band Music Shop
We've found 5 matches for your search

Results

  • £44.95
  • £4.99

    Mangernetisk!

    An American in MangerMartin WinterManger Musikklag 1I. Mangernetisk! 3.502II. Manger Springar Rinat Arzumov (Cornet)4.32 Manger's Madrigal Mystery TourTraditional arr. Martin WinterManger Musikklag 3I. Amor Vittorioso 4.024II. Il Est Bel et Bon (twisted) 3.525III. Fatal la Parte (twisted) Anne Britt Hermansen (Trumpet)4.096IV. Il Bianco e Dolce Cigno (twisted) 5.217V. Now is the Month of Maying (twisted) 3.47 Central Park SuiteMartin WinterManger Musikklag 8I. The Wollman Rink Anne Britt Hermansen (Cornet)4.299II. The Delacorte Theatre 5.1610Red Shoe Dance Sequence No. 2Martin WinterRandi Holm (Flugel Horn) with Manger Musikklag4.5911Ocean 2 (The Mediterranean) Ballet of the Star FishMartin WinterBirgitte Bj?rnsdatter Bruget (Trombone) with Manger Musikklag5.57 Bon Anniversaire Suitearr. Martin WinterManger Musikklag 12I. Cheburashka (on a theme by Vladimir Shainski) 3.4913II. Las Mananitas (The Morning Song) Birthe Carlsen (Euphonium)4.5814III. Happy Birthday 4.2815IV. Mein Geburtstag im Casino 2065 4.3216V. Hurra For Deg 6.10

    Estimated delivery 12-14 days
  • £70.00

    Milestone - Peter Meechan

    Milestone is a concerto commissioned by Mark Wilkinson (with funds provided by the Arts Council England) to celebrate 21 years as Principal Cornet with Fodens Band. In three movements, the work is intended to not only demonstrate the soloista??s virtuosic skills, but also his ability to communicate to the audience.The first movement, titled Milestone, combines sections of driving rhythms (intended to represent Marka??s years of continuing hard work), in the accompaniment with long legato phrases from the soloist interspersed with dexterous, virtuosic, passages.The second movement, Song, features a simple chord sequence, over which the soloist a??singsa? a melody, each time varying and each time becoming more expressive, leading to an emotional climax.The final movement, Twenty One, is a quasi-celebratory dance. Opening with the band clapping, the soloist weaves their way through the various textures in the band. Occasionally making both a musical and metaphorical nod to the industrious nature of the first movement, the chord sequence of the second movement also re-appears, before a brief coda takes us to the conclusion of the work.

    Estimated delivery 12-14 days
  • £55.00

    Purcell Variations - Kenneth Downie

    Purcell Variations, composed in 1995, the year of the tercentenary of the death of the great English composer, was a watershed work in that it was Downie's first extended composition to be published independently of The Salvation Army and intended for wider use. For his theme, Downie has chosen what has come down to us as the hymn tune Westminster Abbey, which is in fact an adaptation made in 1842 by Ernest Hawkins, who was a Canon of Westminster Abbey where Purcell himself had been organist. Purcell’s original is actually the closing section of an anthem, O God, Thou art my God, where it provides the final paean of praise, sung to repeated ‘Hallelujahs’. Purcell’s tune, particularly the opening triadic gesture, is used as a source of thematic and harmonic material – a quarry for ideas if you like: “I was obsessed with the intervals of thirds in Purcell’s tune, rather like Brahms in his Third Symphony”, the composer says.There are five variations, preceded by an extended introduction and theme. In the first variation, Purcell’s lilting dance pulse has been transformed into a bright, playful sequence, in which each phrase of the melody is given its own transformation. In the second, Purcell’s opening gambit is extended into a graceful, flowing waltz, featuring solo and first horn at the top of the register. The composer offers a range of metronome speeds in this movement, in which he is emulating the wistful elegance of Erik Satie’s famous Gymnopedie. We enter the world of big band jazz in variation three, where Purcell’s tune strides along with added syncopation and bluesy major/minor thirds to the fore. After the breathless energy and blazing brass of the big band, Downie moves into his ‘home territory’ for a beautifully worked lyrical variation. There is an enhanced urgency about the final variation, which opens with an extended reprise of the work’s introduction. Purcell’s second and third phrases provide the preparation for the exuberant return, in customary triumph of Purcell’s ‘Hallelujah’.

    Estimated delivery 12-14 days