Results
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£89.95Revelation (Score and Parts)
Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell's death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell's own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne's trumpets are themselves placed stereophonically ". . . At the round Earth's imagined corners" and it is this feature that today's players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell's music re-enters in a lasting tribute to England's first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o 'erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15
Estimated dispatch 7-14 working days
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£44.95Revelation (Score Only)
Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell's death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell's own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne's trumpets are themselves placed stereophonically ". . . At the round Earth's imagined corners" and it is this feature that today's players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell's music re-enters in a lasting tribute to England's first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o 'erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15
Estimated dispatch 7-14 working days
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£40.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 5-7 working days
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£50.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 5-7 working days
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£60.00Richard III (Score only) - William Walton
It takes a special ability to compose film scores which serve the images perfectly yet translate into first class concert music. William Walton was such a talent as the continuing popularity of his brilliantly evocative film music shows. This suite presents a rich, vivid musical tapestry with all the drama of the original captured to perfection. Winwood Music are delighted to bring this music from Laurence Olivier's classic film to the brass band world in a fabulous arrangement by Edward Watson - so idiomatic that you'll think this is the original version! There are seven movements: 1. Prelude 2. Fanfare and Processional 3. Sound Drums and Trumpets & Recessional 4. Elegy 5. The Princes in the Tower 6. The Battle of Bosworth Field 7. Death of Richard and Finale
Estimated dispatch 5-7 working days
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£70.00Richard III (Parts only) - William Walton
It takes a special ability to compose film scores which serve the images perfectly yet translate into first class concert music. William Walton was such a talent as the continuing popularity of his brilliantly evocative film music shows. This suite presents a rich, vivid musical tapestry with all the drama of the original captured to perfection. Winwood Music are delighted to bring this music from Laurence Olivier's classic film to the brass band world in a fabulous arrangement by Edward Watson - so idiomatic that you'll think this is the original version! There are seven movements: 1. Prelude 2. Fanfare and Processional 3. Sound Drums and Trumpets & Recessional 4. Elegy 5. The Princes in the Tower 6. The Battle of Bosworth Field 7. Death of Richard and Finale
Estimated dispatch 5-7 working days
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£59.95
My Strength, My Tower - Rhapsodic Variations (Brass Band - Score and Parts) - Goffin, Dean
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
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£29.95
My Strength, My Tower - Rhapsodic Variations (Brass Band - Score only) - Goffin, Dean
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
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£59.95
Quintessence (Brass Band - Score and Parts) - Redhead, Robert
Originally written for the Melbourne Staff Band's tour of the UK in 1978 and, more specifically, their participation in The Salvation Army International Congress in London, the music expresses the quintessence of Australian Salvationism. The five sections are; 1. An original theme expressing the immensity of the Australian continent. 2. Australia's sons, let us rejoice representing the character of the people. 3. Glory, glory, glory hallelijah from the song The Christian Mission. 4. A meditative setting of At Thy feet I bow adoring, written by two Australian Salvationists. 5. A development of the previous themes bringing the work to its climactic conclusion.
Estimated dispatch 7-14 working days
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£29.95
Quintessence (Brass Band - Score only) - Redhead, Robert
Originally written for the Melbourne Staff Band's tour of the UK in 1978 and, more specifically, their participation in The Salvation Army International Congress in London, the music expresses the quintessence of Australian Salvationism. The five sections are; 1. An original theme expressing the immensity of the Australian continent. 2. Australia's sons, let us rejoice representing the character of the people. 3. Glory, glory, glory hallelijah from the song The Christian Mission. 4. A meditative setting of At Thy feet I bow adoring, written by two Australian Salvationists. 5. A development of the previous themes bringing the work to its climactic conclusion.
Estimated dispatch 7-14 working days