SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: CN.S11175
From majestic to pastoral to dance-like, Land of the Long White Cloud is Philip Sparke's representation of New Zealand. This piece is a wonderful addition to the concert band repetoire.Long before Europeans ventured out of sight of land, the bold and restless ancestors of the Maori people were making voyages of thousands of miles across the world's greatest oceans. It was around 1000 AD that they landed in New Zealand. The discovery of New Zealand is attributed in Maori tradition to Kupe and the circumstances of the landfall gave the country its Maori name. As land was approached, a long, flat volcanic cloud could be seen. Kupe's wife Hine-te-aparangi, looked to the horizon and cried out, He ao! He ao! A cloud! A cloud! The name of Aotearoa was given to the islands - The Land of the Long White Cloud. Land of the Long White Cloud was originally conceived as a brass band work as a result of a commission by the New Zealand Brass Band Association for their National Championships held in 1980 in Christchurch. This transcription by the composer was commissioned by Keith Allen and Birmingham Schools' Wind Orchestra who gave the first performance in the Adrian Boult Hall, Birmingham, England on Sunday 15 May 1988.
SKU: CN.R10103
Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.Stuart Johnson has the fine ability to capture moods and scenes in music. He was born in Staffordshire, the county for which he was Director of Music until his retirement in 1997. After experience as a player in brass bands, he served in the band of the King's Dragoon Guards before training as a teacher and working in schools. Following a period as a lecturer at Northumberland College of Education he became Music Adviser to the Metropolitan District of Sandwell prior to his appointment to Staffordshire. He has long experience as a conductor, particularly in the choral and band fields and also wide experience as an adjudicator and examiner. He has written prolifically for bands and orchestras and his didactic publications are used in many countries. He has over eighty published compositions and arrangements, many of which have been broadcast on radio or television. His commissioned works include the cantata David and Goliath which was first performed at the Royal Festival Hall, Oregon Overture for wind orchestra, Landscapes, Sinfonietta No 2, Wessex Dances and A Castle Suite. Stuart Johnson has recently completed several commissions, funded by National Lottery grants, for bands in Cumbria, the Isle of Wight, and Staffordshire. Requiem for Soprano, Chorus and Orchestra, was premiered successfully in front of a capacity audience in Lichfield Cathedral in March 1997, and received its first London performance at St. John's Smith Square in March 1998. This prestigious venue also saw the first performance of Songs and Sonnets for unaccompanied mixed choir in 2001. Stuart Johnson has written extensively for the theatre, his music for the production of Anna of the Five Towns was used for both the radio and television adaptations His music ranges in style from the evocative and demanding Sinfonietta for Wind Orchestra, which has received many performances since its premiere in the Royal Festival Hall, including a broadcast by the Band of the Scots Guards, to his ubiquitous Bandstand Boogie which has set feet tapping all over the world. Apart from the latter his most performed work is probably Circus Suite which was the British Youth Band Championship test piece in 1980. Northumbrian Suite and Landscapes have also been used as National Brass Band Championship test pieces. The Flint Knappers commissioned as a test piece for the 1998 East Anglian Band Festival was selected as a test piece for the 1999 Australian Championships. Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.
SKU: CN.S11103
SKU: CN.R10011
Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves.
SKU: CL.012-4468-00
This Victor López work evokes images of excitement, bravery and sorrow as Erebus and Terror: The Lost Ships retells the story of the Sir John Franklin expedition in search of the Northwest Passage. Beginning with anticipation as the explorers depart their homeland, the rousing melodic theme is written for clarinet, horn and alto saxophone. The excitement of the journey turns melancholic for a few moments, as the gravity of their journey sinks in, but their courage is again renewed as the trumpets tell the story. A haunting flute and oboe duet foreshadows the inevitable crash portrayed with strong chromatic dissonances, into the ice and the loss of both ships and their crews. The journey has ended for these men, but their story lives on and Sir John Franklin is remembered as a hero due to his valuable contributions to the development of Canada’s north. Highly recommended!
SKU: CL.012-4468-75
This Victor Lopez work evokes images of excitement, bravery and sorrow as Erebus and Terror: The Lost Ships retells the story of the Sir John Franklin expedition in search of the Northwest Passage. Beginning with anticipation as the explorers depart their homeland, the rousing melodic theme is written for clarinet, horn and alto saxophone. The excitement of the journey turns melancholic for a few moments, as the gravity of their journey sinks in, but their courage is again renewed as the trumpets tell the story. A haunting flute and oboe duet foreshadows the inevitable crash portrayed with strong chromatic dissonances, into the ice and the loss of both ships and their crews. The journey has ended for these men, but their story lives on and Sir John Franklin is remembered as a hero due to his valuable contributions to the development of Canada's north. Highly recommended!
SKU: CL.012-4468-01
SKU: CL.012-2224-00
The opening allegro section of this imaginative work contains marvelous rhythmic vitality before moving through two lovely slow sections featuring solos for Trumpet, Flute, and Alto Sax. Niehaus’ use of mixed meters adds color and interest, which makes this number fun to rehearse and a definite pick’’ for contest.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CN.R10299
Holst's masterful military band orchestration of J.S. Bach's Organ Fugue in G Major BWV 577. Michael Brand's new edition expands/doubles some of Holst's original parts to make the piece playable by today's modern concert band.When Holst was commissioned to write 'Hammersmith' for the BBC Wireless Military Band in 1928 he felt rather out of practice in orchestrating for the medium. For some years he had had the idea of arranging some Bach fugues for brass and military band so he set himself the task of scoring the Organ Fugue in G Major BWV 577 (from Preludes, Fugues and Fantasias). He, rather than Bach, called it 'Fugue a la Gigue.' The piece made an ideal exercise and Holst's brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception which the composer carried forward into 'Hammersmith.' 'Fugue a la Gigue' was published for military band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time. This edition has the full score of Holst's original orchestration with optional added parts for full concert band.
SKU: CL.012-4185-75
An exciting journey through the old west, The Great Land Run paints an exhilarating picture of 1889 Oklahoma. A fanfare-like main theme at the beginning is followed by the night around the campfire. As the settlers rest, a gentle storm washes over them bringing forth the questions of what tomorrow may bring. As morning rises, they head back on their way to stake their plot of land and new life. A powerful recap of the main theme drives this piece to an exciting end. With multiple opportunities for solos in the flute, clarinet, oboe, and trumpet, this piece will offer a fun, yet challenging experience for any concert band!
SKU: CL.012-4185-01
An exciting journey through the old west, The Great Land Run paints an exhilarating picture of 1889 Oklahoma. A fanfare-like main theme at the beginning is followed by the night around the campfire. As the settlers rest, a gentle storm washes over them bringing forth the questions of what tomorrow may bring. As morning rises, they head back on their way to stake their plot of land and new life. A powerful recap of the main theme drives this piece to an exciting end. With multiple opportunities for solos in the flute, clarinet, oboe, and trumpet, this piece will offer a fun, yet challenging experience for any concert band! Highly recommended!
SKU: CL.012-1491-00
A spirited, lighthearted piece featuring four flutes with band accompaniment. The flute parts are challenging but well within the abilities of most high school musicians.
SKU: CL.012-4119-75
Sands of the Sahara paints a breathtaking and dramatic picture of the desolation, intrigue, culture, and storied history of the north Africa landscape. At the start, special percussion effects mimic the sounds of the wind, while a mysterious, faraway flute melody calls to mind an oasis in the desert. Abruptly, a bold theme is introduced by the full band, and leads to the driving rhythms and exotic themes that further propel and sustain the rest of the piece. Concluding, the introduction is briefly restated, and the piece ends in a stunning tour-de-force of color and intensity. Perfect for concert or contest, Sands of the Sahara will showcase your entire band with excitement and enthusiasm.
SKU: CL.012-4119-01
SKU: CL.012-3491-01
A dramatic composition paying tribute to the many immigrants who came to this country through Ellis Island., it delivers a uniquely conceived sound that is full of brilliance and drive! Embodying the essence of freedom, it includes a beautiful and tender section that features solos for flute and trumpet as well as for the entire horn section. A stirring addition to any concert or festival performance! Sensational!
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-3286-01
The newest composition from popular Canadian composer Andre' Jutras is a distinctive piece that begins with short expressive solos for flute and clarinet. The contrasting slower section features solos for alto sax and either tenor sax, horn or euphonium before returning to a faster tempo for the exciting ending. Perfect for any concert or contest performance.
SKU: CL.012-4897-00
Opening with a lush flute soli, Into Heaven’s Hands explodes with power, emotion and jubilation in celebration of a beautiful life. The powerful opening gives way to a lyrical and whimsical faster section. David Shaffer’s mastery of intricate harmonic progression is on full display throughout this work. A slower, lyrical middle section compliments the entire piece with a balance of pure musical emotion. The percussion writing is simple but very effective in producing an exciting and musical experience for both the players and the listeners. An excellent choice for contest or festival!
SKU: CL.012-1749-00
Here’s a delightful program piece for young bands highlighting the flute and clarinet sections. An effective rhythmic background enhances the melodic material which is definitely the ``Sound of Today.’’ This music is simple, straightforward and fun to play with some nice touches added by the writer. No preparation problems.
SKU: CF.YPS208
ISBN 9781491152287. UPC: 680160909780. Key: D minor.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
SKU: CF.YPS208F
ISBN 9781491152966. UPC: 680160910465.
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