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£40.00
Mars Attacks - Elfman, D - Phillips, L
Tim Burton weaved his usual brand of zaniness throughout this film and his regular composer, Danny Elfman, created a humorous parody of early B movie sci-fi scores by his use of choir and two theremins - an early synthesizer (optional choir and synth. parts supplied). This arrangement features the music that accompanies the film's horrific opening, a heard of burning cattle stampeding past a shocked family; the scoring here is dissonant and over-the-top with horror value. This is followed by Elfman's quirky Main Title Theme which sees the Martian invasion force enroute to Earth - wicked and fiendish fun ensues.2nd section +
In stock: Estimated dispatch 1-3 days
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£25.00Shindig
Commissioned by Adrian Smith for the the Blackley Band's 2018 performance at the French Open Championships, Shindig is an approachable concert item for lower-section bands. This quirky work takes the form of an Irish reel, providing the opportunity for each instrumental family within the ensemble to 'take to the floor.' Duration : 00:03:00 Grade : 2.5 / 3
Estimated dispatch 7-14 working days
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£60.50A Gallimaufry Suite (Score and Parts)
I - Fanfare & ThemeII - SongIII - HymnIV - Toccata & FinaleA Gallimaufry Suite consists of four movements, all thematically independent. The first movement consists of a sparkling Fanfare followed by a stately Theme which ends quietly. The second movement is a Children's Song; quirky but cute, and the Hymn which follows is a study in calm and tranquillity, featuring a quartet-group of cornet, baritone, trombone and euphonium. The last movement is a virtuosic Toccata which eventually begins to recall the other themes of the suite before a grand reprise of the first movement Theme brings the work to a dazzling conclusion.
Estimated dispatch 7-14 working days
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£74.99Cornet Concerto No.1 - Jonathan Bates
My 'Cornet Concerto No.1' was composed for Lode Violet and Brass Band Willebroek in 2018 and features 2 movements, entitled 'Dystopia' and 'Utopia'. . The nature of the music in the opening section, 'Dystopia', is very jagged, disjointed and unsettling, as the soloist almost battles against the constant churning of the mechanical accompaniment, trying to persevere with it's own ideas and styles without being dragged into conforming to it's surroundings. The movement is based largely on the 3 note interval heard right at the outset of the piece (C, D & G#, a series of notes that lends itself so well to different modes, scales, harmonies and intervals) and this forms much of the rhythmic and harmonic structure of the opening section.Whilst this movement acts as a virtuoso feature to demonstrate the extended capabilities of both the soloist and instrument, I feel the accompanying ensemble plays an equal role in the narrative of 'dystopia', and features a number of demanding and prominent episodes for soloists within the accompanying band. A short and heavy coda concludes the movement, with a sense of real pain and sorrowfulness as the music fades away into darkness. . 'Utopia' opens in an instantly more hopeful nature, with the soloist introducing the first real 'theme' of the movement, taken up shortly by the accompaniment. Throughout this movement, there are a number of timbral and melodic references back to the darkness of 'dystopia', but transformed into a much more positive outlook and soundworld. There is a moment of quiet reflect (using the initial 3 note cell as a basis) before flying head first into a frenzied wild 'tarantella' like section, full of joy and energy which tests the dexterity and light-natured approach to virtuosity (much unlike the heavier material in the 1st movement) of the soloist. Primarily, the concept of this finale is fun - joy, happiness, and freedom from restraint, so the addition of a quirky 'tongue-in-cheek' habanera section offers a brief moment of respite from the craziness of the tarantella. To conclude the work, there is an extended cadenza for the soloist which is built on several motifs heard throughout the concerto, which leads the band into a dramatic and energetic final few bars.. Jonathan Bates. (2018). .
In stock: Estimated dispatch 1-3 days
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£68.99Sarabande and Polka - Sir Malcolm Arnold
In 1956 Sir Kenneth MacMillan created a one-act ballet for the Sadler's Wells Theatre Ballet, London. He selected the music from the two sets of English Dances which Sir Malcolm Arnold had written in 1950 and 1951 to great acclaim. The composer wrote two new dances, a Sarabande and a Polka, especially for the ballet, which was premiered at Sadler's Wells Theatre in June 1956. The two new dances have taken on a life of their own in the concert hall and are typical Arnold: the Sarabande contains one of his most memorable melodies and the Polka shows him at his quirky, tongue-in-cheek best.
Estimated dispatch 5-14 working days
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