Results
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£127.30Summer Play Samba - Øystein Olsen Vadsten
"Summer Play Samba" is, as the title suggests, a light summer samba, which flows like a fresh summer breeze into the ear canals and stays there.The piece was written in connection with an assignment the composer was to have as a guest conductor at a so-called Summer Play in the Eastern Norway area. Hence the title Summer Play Samba. Here, musicians from far and near meet and participate in a kind of prima vista bonanza, where the main point is to be able to practice music during the summer break. Due to the lack of a piece in the entertainment genre, "Summer Play Samba" was written for this specific evening.After a bit of cleanup and polishing, this great samba is now ready for release."Summer Play Samba" should be a welcome contribution to any entertainment repertoire and is guaranteed to please the ears of many musicians and concertgoers.
Estimated dispatch 5-14 working days
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£59.99
Laura - David Raskin - Mark Freeh
David Raksin was active in the music business for so many decades that he was thought by many to be the Grandfather of film music. Raksin created notable scores for films such as Forever Amber and The Bad and the Beautiful, though he is best known for the soundtrack to Laura, where the lead character is always represented by the same theme, an "idee fixe". This haunting melody gets under your skin and stays there. It is totally suited to the plot where the investigating detective is haunted by the subject of his investigations. Here is a chance to feature your flugel soloist in this jazz ballad which has been given the 'Freeh treatment'.
Estimated dispatch 5-14 working days
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£69.99Czardas (Xylophone solo) - Monti - Gert Bomhof
Vittorio Monti was born on January 6, 1868 in Naples (Italy). His musical education (Violin and composition), he enjoyed at the conservatory there. Around his 30's Monti went to Paris. He earned a living as a conductor and wrote several ballets and operettas. In his last years, before his death in 1922, Monti devoted himself to teaching and composing. His famous 'Czardas' has made his name known even today.Initially the Czardas was a Hungarian folk dance, but after the mid-nineteenth century it was even a dance for the upper-class. Czardas begins with a slow introduction, the Lassan (slow and sad), and then the fast part,Friska, follows. Czardas is not, as so many people think, typical gypsy music.
Estimated dispatch 5-14 working days
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£102.99Introduction & Punk - Torstein Aagaard-Nilsen
Torstein Aagaard-Nilsen's (1964) way of composing can be described as: uncompromising, wilful and contemporary. It is not surprising, therefore, that this occasionally causes a stir. In the middle of the Seventies a trend arose in youth culture, which was characterized by provocation, distrust of the great ideologies, and the autonomy of the individual. Punk is playful, aggressive, often humorous, and anti-everything, which inevitably leads to self-irony. The first part of Aagaard-Nielsen's composition (Introduction) is a texture based mainly on one short theme. This pompous theme breathes a spirit of cold empty plains, where icy winds sigh around yourhead. In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies. De wijze van componeren van Torstein Aagaard-Nilsen (1964) laat zich omschrijven als: compromisloos, eigenzinnig en eigentijds. Niet verwonderlijk dat dit af en toe wat stof doet opwaaien. Midden zeventiger jaren ontstaat er een stroming binnen de jongerencultuur, die provocatie, wantrouwen tegen de grote ideologieen en de autonomie van het individu centraal stelt. Punk is speels, agressief, veelal humoristisch en anti-alles, wat onvermijdelijk leidt tot zelfspot. Het eerste deel (Introduction) is een weefsel, gebaseerd op voornamelijk een kort thema. Het pompeuze thema ademt de sfeer van kille lege vlakten, waar de ijzige wind je om de oren suist. Tijdens de 'heftige' Punk (Presto barbaro!) is van een thema geen sprake meer. De basis voor dit deel is een steeds herhalend motief (dalende kleine terts). Dit motief wordt afgewisseld met zeer krachtige percussie slagen en later schrille samenklanken. Dit alles zorgt voor een bombastisch geheel. Aan het slot van de Punk horen we het intoductie-thema tussen het punkgeweld door terugkomen.
Estimated dispatch 5-14 working days
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£76.99Rhythm Forever - Andreas Ludwig Schulte
With this surprising little work, the composer not only intended to write a delightfully swinging composition. he also had an educational message up his sleeve. Especially as far as timing and rhytm are concerned there is plenty of action. Rhythm Forever might very well be an absolute showstopper on your next concert. Met dit verrassende werk, was het niet alleen de bedoeling van de componist om een heerlijk swingende compositie te schrijven, hij had ook een educatieve boodschap in petto. Vooral wat timing en ritme betreft is er volop actie. Rhythm Forever is een absolute 'showstopper' op uw volgende concert.
Estimated dispatch 5-14 working days
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£104.99Like a Child - Andreas Ludwig Schulte
The young have the future. This is the statement made at the beginning of 'Like a Child' by Andreas Ludwig Schulte. The opening radiates strength and ambition, but one is also made to wonder which direction will be chosen, which choices will have to be made.After the introduction the first steps on the path of life are taken, still somewhat unsteadily (the 3/4th time used illustrates this uncertainty). However, the child has now set off and will meet the future with an open mind, unafraid, even though experience will teach it how easily it can be hurt.Fortunately, it is sometimes allowed to be vulnerable and it discovers there will always be someone to offer shelter,support and love. (Adagio) The last part breathes a far greater independence. Youth is able to face the future, it can even take on the whole world!
Estimated dispatch 5-14 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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£54.95Festiva Brazilia (Brass Band - Score and Parts)
Using a variety of Latin American musical influences the piece opens with a bass riff that is to be the prominent feature in this work. Accompanied with lively Latin American Samba Percussion section the work is reminiscent of the music heard at the world famous Rio Carnival. There are lots of Latin 'Riffs' and 'Licks' throughout the piece that keep returning in true samba style. This is a real fun piece to perform and the performing notes below act as a guide to getting the most out of this performance.Performing Notes:There are opportunities for soloists within the piece, particularly Solo Cornet, Soprano and Bongo's.When the Cornet and Soprano soloist play their solo part they have an instruction to stand out at the front to perform. It is at the players and conductors discretion where they would like to stand for their solo line.Obviously the Drum Kit soloist is restricted to their current positioning within the band. However, the other percussionists are quite at liberty to come out to the front of the band to perform their solo at rehearsal figure P at the conductors discretion.NB - At the 5th bar of figure P there is an optional repeat section. Performers can repeat this section over and over to extend the percussion feature. Or even add more players from the band to play percussion. If you do not wish to use this opportunity then dismiss the repeat so that there is a 16 bar section between figure P and figure R.There are also a variety of cameo roles for other soloists and musical sections during the piece. Other players and sections can stand to perform various motifs during the piece again at the conductor's discretion.Festiva Brazilia was composed for performers to have fun and enjoy performing the piece as much as possible. Just like the many Samba festivals around Brazil.
Estimated dispatch 7-14 working days
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£110.00
Legend - Geert Jan Kroon
Other than the title, there is no real story that connects this piece to eyeballs or werewolves. There is no real legend that precedes this work. The legend will evolve in the listener's mind while listening to this piece. For me, it started with the title. It was dreamed up by my son. He also suggested a musical gesture, which I then used to build all the musical materials in this piece. I have sought to capture a dark atmosphere with a sense of excitement. Although, there are some not so dark moments in the piece which serve as a musical contrast. I would like to invite every listener to imagine a world where there exists a legend of a bleeding eyeball and a blind werewolf. And if you do dream up a great story, please let me know and share it with each other!
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