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Ryan Fraley: Butterfly's Ball

Ryan Fraley: Butterfly's Ball

This compelling work incorporates elements of mystery and intrigue in a whirlwind of sounds, colors, and textures. Written in a quick 3/4 time, this engaging composition uses an attractive harmonic language, expressive melodic lines, and clever orchestrations to invoke the fairy-tale imagery of Robert Louis Stevenson?s poetry in A Child?s Garden of Verses. The playful nature of the piece moves between a lilting quality and a more lyrical expressive nature. Wonderful writing and an excellent change of pace for any concert, especially for directors looking for a lighter work with substantial quality. (3:52)

SEK 1258.00
1

Fields of Deliberation

Fields of Deliberation

Fields of Deliberation was written by composer Kevin Houben for the ‘Limburgs Fanfare Orkest’. The occasion was the concert cycle that appropriately commemorated the end of the Second World War (in 2020, 75 years ago). Fromthe very first beginning till the end, speed, energy and ‘drive’ characterize this powerful composition. A magnificent lyrical melody is the common thread throughout the piece, without the rapid movement losing pace or intensity.Majestic, grand moments and energetic passages alternate culminating in an impressive highlight. This dynamic concert piece with a cinematic character is a challenge for all the different groups of instruments of theorchestra and is an added value for any concert program.

SEK 1396.00
1

Dance of the Knights from Romeo and Juliet

Dance of the Knights from Romeo and Juliet

This publication marks the first-ever symphonic wind band edition of the Dance of the Knights, from Scene 2 Capulet's Ball of Prokofiev's ballet Romeo and Juliet. [The ballet] led to one of the most beloved dance works in the repertory and a series of famous orchestral suites... but the celebrated legacy of Romeo and Juliet belies its tortured history: It left Prokofiev broken and emerged from a period that left many of his colleages dead. (New York Times). Nathan Jones' scoring for symphonic wind band faithfully captures the magic of the original orchestraion of this famous work, which has been heard in numerous films and TV shows, including The Simpsons, Warm Machine, GoodMorning Britain and Gotham, among many others. This piece is an ideal opener or closer for intermediate to advanced band.

SEK 1396.00
1

Sir Roger De Coverley (Concert Band Score And Parts)

Sir Roger De Coverley (Concert Band Score And Parts)

Frank Bridge (1879 – 1941) was one of the leading English composers of his time. In October 1922 he adapted his popular string quartet Sir Roger de Coverley for full symphony orchestra and Sir Henry Wood agreed, at the last minute, to include it in the last night of the Queen’s Hall Promenade Concerts at the end of that month. This elaborate and colourful orchestral version has never been widely performed, but has now been brilliantly transcribed by Alastair Wheeler to provide a miniature dance poem for grade 5 level concert band. Bridge’s lively treatment of one of England’s most famous traditional dance melodies will make a fitting end to any concert, with the strains of Auld Lang Syne introduced by Bridge as a nod towards Sir Roger de Coverley’s traditional function as the final dance of a Christmas Ball, as it was in Old Mr. Fezziwig’s party in Dickens’ A Christmas Carol.

SEK 1178.00
1

Three Onegin Dances

Three Onegin Dances

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

SEK 1822.00
1

Nocturne

Nocturne

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

SEK 1396.00
1

Three Onegin Dances

Three Onegin Dances

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

SEK 1822.00
1

Reger-Werkausgabe, Bd. I/2 : Phantasien und Fugen, Variationen, Sonaten, Suiten I für Orgel

Reger-Werkausgabe, Bd. I/2 : Phantasien und Fugen, Variationen, Sonaten, Suiten I für Orgel

Volume 2 of the Reger-Werkausgabe, in the category "organ music," comprises, in chronological order, the fantasies, fugues, variations, sonatas and suites which Max Reger composed between October 1894 and May 1901, primarily for concert purposes. In addition to the version of op. 33 printed in this volume, the DVD also contains the first version of mm. 75-88 from the Passacaglia, as well as the five variations composed for this movement [mm. 159 ff.] after the fact, which Reger wrote for Karl Straube. Volume 3 will conclude this category and will contain the following works: Sonata in D minor op. 60, Variations and Fugue on an original theme op. 73, Suite in G minor op. 92,Introduction, Passacaglia and Fugue in E minor op. 127, Fantasia and Fugue in D minor op. 135b. Starting with Vol I/2 of the Reger-Werkausgabe the DVD will include a user guide in English.

SEK 1958.00
1