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£104.99
Theme Park Fun! - Wilco Moerman
In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit, you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set, on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day fullof fun and pleasure awaits! You and the other visitors will be confronted with all the rides, attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! Aparade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun, is the Haunted House. Here visitors will be challengedto visit a house full of ghosts, creepy figures and other ominous things. The clock strikes twelve, there is no turning back. Ghosts are whispering, yelling, screaming... Fortunately it is almost one oclock, so we can leave this creepy placequickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth, you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have afantastic view over the park, but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions,it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting, you will discover fable figures, talking animals and colorful designs. Such a beauty and tranquility. Having had this experience, we are ready again for thebig rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bumpagainst someone else. In this tough ride you can prove yourself as a real driver, or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest, fastest and scariest ride in the park ... we shoulddefinitely do the Roller Coaster! All together in the train, the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the topand the train will be plunged down the first drop! Loops, corkscrews and other spectacular coaster elements will follow... Before you know it, the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [withanimation]Unfortunately everything comes to an end. This day in the theme park is over, but we have a lot new experiences to talk about! The memories of all the funny and spectacular rides will come up when we walk through the park to theexit. Just one look over the shoulder, the amusement park figures are waving at us. Hopefully we will come back again soon!
Estimated dispatch 5-14 working days
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£89.95TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score and Parts)
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in four versions: with brass band (1976), orchestra (1978), wind band (1984) and piano reduction.The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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£44.95
TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score only)
Brass Band Score onlyThis work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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£89.95Tuba Concerto (Score and Parts)
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.
Estimated dispatch 7-14 working days
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£44.95Princethorpe Variations (Brass Band - Score and Parts) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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£22.50
Princethorpe Variations (Brass Band - Score only) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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£69.99Willow Pattern - Philip Harper
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Changby the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone. The Willow Pattern LegendOnce, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only theexotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it bestolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescueKnoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip.They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men setfire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness. Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware. NOTES ON PERFORMANCEMute Requirements:Metal mutes soprano cornet, repiano cornet, 2nd cornets, 3rd cornets (6 in total) Cup mutes all cornets and trombones (10 + 3) Harmon mutes soprano cornet, solo cornets, repiano cornet (6) Percussion Requirements:There are two parts for percussion on the score. The minimum requirements are as follows: 2 players - Timpani, 2 Large tom toms, 2 Wood Blocks, Triangle, Sleigh Bells, Whip, Clash Cymbals, Suspended Cymbal, Hi-hat, Glockenspiel, Xylophone, Tam tam (or susp. cym.) For performances with extra resources, and to achieve closer authenticity, the full requirements are as follows: 3 players - Timpani, 3 Taiko Drums played with thick wooden sticks (or Large tom toms), 2 Wood Blocks, Triangle, Chinese Bells (or Sleigh Bells), Whip, Clash Cymbals, Chinese Cymbals (small clash cymbals approx 12"), Suspended Cymbal, Glockenspiel,Xylophone, Tam tam
Estimated dispatch 5-14 working days
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£99.95Malcolm Arnold Variations (Score and Parts)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£10.00Endurance
DescriptionMen wanted for hazardous journey.Small wages, bitter cold,long months of complete darkness,constant danger, safe return doubtful.Honour and recognition in case of success.- Ernest Shackleton, 4 Burlington StreetEndurance takes its title from the ship used by Sir Ernest Shackleton's Imperial Trans-Antarctic Expedition in 1914-15. After many months of fundraising (and reputedly running the above advert in The Times) the Endurance set sail from Plymouth on 6 August 1914. Whilst at sea news of the outbreak of war led Shackleton to put his ship and crew at the disposal of the Admiralty, but their services were not required and they were encouraged to continue. On October 26 1914 they left Grytviken on South Georgia for the Antarctic continent, hoping to find the pack ice shrinking in the Antarctic spring. Two days later, however, they encountered unseasonable ice which slowed their progress considerably. On 15 January 1915, when Endurance was only 200 miles from her intended landfall at Vahsel Bay, the ship became beset by ice which had been compressed against the land to the south by gale force winds. Trapped in the ice of the Weddell Sea, the ship spent the Antarctic winter driven by the weather further from her intended destination until, on 21 November 1915 Endurance broke up forcing the crew to abandon ship and set up camp on the ice at a site they named "Patience Camp".The crew spent several weeks on the ice. As the southern spring started to reduce the extent of the ice shelf they took to their three lifeboats, sailing across the open ocean to reach the desolate and uninhabited Elephant Island. There they used two of the boats to build a makeshift shelter while Shackleton and five others took the largest boat, an open lifeboat named the 'James Caird' and sailed it for 800 terrifyingly dangerous miles across the vast and lonely Southern Atlantic to South Georgia - a journey now widely regarded as one of the greatest and most heroic small-boat journeys ever undertaken. After landing on the wrong side of the island and having to climb over a mountain range in the dark with no map, Shackleton and his companions finally stumbled back into the Grytviken whaling station on 19 May 1916.After resting very briefly to recover his strength, Shackleton then began a relentless campaign to beg or borrow a ship to rescue the rest of his crew from Elephant Island; whaling ships were not strong enough to enter polar ice, but on 30 August 1916, over two years after their departure from Plymouth, Shackleton finally returned to Elephant Island aboard a steam tug borrowed from the Chilean government. Although some were in poor health, every member of the Endurance crew was rescued and returned home alive.Endurance is dedicated to the memory of my mum, who passed away in September 2017.Listen to a computer generated preview and follow the score below:
Estimated dispatch 7-14 working days
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