Belmont Variations (Brass Band - Score and Parts) - Bliss, Arthur - Wright, Frank

2nd Section Test PieceRecorded on Polyphonic QPRL041D Variations

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Belmont Variations (Brass Band - Score only) - Bliss, John - Wright, Frank

2nd Section Test PieceRecorded on Polyphonic QPRL041D Variations

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Belvedere Brass Band Flugel Horn (Score & Parts)

Belvedere is a beautiful solo for flugel horn or cornet and is partly taken from City Scapes, a concert work that was inspired by Central Park in New York City. The title Belvedere refers to 'Belvedere Castle', erected in 1869, and radiates the peaceful atmosphere of this place. 03:06

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Ben (Brass Band - Score and Parts) - Scharf, Walter - Bernaerts, Frank

As performed by Michael Jackson. Duration: 3.00

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BEN (Brass Band) - Price, Dan

Grade: easy. Recorded on OBRCD946 The Way we Were (Cory Band).

Ben-Hur (Brass Band - Score and Parts) - Rosza, Miklos - Barry, Darrol

Theme from the motion picture Ben-Hur. Duration: 4.30

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Beneath the Willows (She Wept for Me) (Brass Band - Score and Parts)

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Benedicamus Domino (Brass Band - Score and Parts) - Wainwright, Andrew

A spectacular major Christmas work for brass band, based on the well-known carols 'Unto us is born a son' and 'Infant Holy'. Set in three through-composed movements, the outer two sections are full of joy and vibrance, with a magical, ethereal middle movement featuring 'Infant Holy'. The work comes to a close with a grandioso finish and rendition of 'Unto us is born a son' in full glory.

BENEDICTUS (from The Armed Man (A Mass for Peace)) (Euphonium Solo with Brass Band) - Jenkins, Karl - Small, Tony

Recorded on Polyphonic QPRL224D Master Brass (Volume Seventeen)

Benvenuto Cellini (Brass Band - Score and Parts) - Berlioz, Hector - Wright, Frank

Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.

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