Results
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£59.95
CELESTIAL PROSPECT (Brass Band Set) - Wilfred Heaton
Selected as 2nd Section test piece for 2003 'Regionals'Wilfred Heaton originally composed Celestial Prospect in the 1940's but, so the story goes, it was rejected by the SA Editorial 'chiefs' as being too modern. The original manuscript was lost for many years, turning up in the 1980's in New York. Heaton re-worked it for the New York Staff Band, and it is now accepted as a classic of the SA 'Festival' genre.
Estimated dispatch 7-14 working days
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£59.95
Celestial Prospect (Brass Band - Score and Parts) - Heaton, Wilfred
Selected as 2nd Section test piece for 2003 'Regionals'Wilfred Heaton originally composed Celestial Prospect in the 1940's but, so the story goes, it was rejected by the SA Editorial 'chiefs' as being too modern. The original manuscript was lost for many years, turning up in the 1980's in New York. Heaton re-worked it for the New York Staff Band, and it is now accepted as a classic of the SA 'Festival' genre.
Estimated dispatch 7-14 working days
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£29.95
Celestial Prospect (Brass Band - Score only) - Heaton, Wilfred
Selected as 2nd Section test piece for 2003 'Regionals'Wilfred Heaton originally composed Celestial Prospect in the 1940's but, so the story goes, it was rejected by the SA Editorial 'chiefs' as being too modern. The original manuscript was lost for many years, turning up in the 1980's in New York. Heaton re-worked it for the New York Staff Band, and it is now accepted as a classic of the SA 'Festival' genre.
Estimated dispatch 7-14 working days
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£22.50IMAGES FOR BRASS (Brass Band Extra Score) - Bulla, Stephen
2nd Section Test Piece 2016 National Finals of the British Brass Band Championship.
Estimated dispatch 7-14 working days
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£53.50
IMAGES FOR BRASS (Brass Band Set - Score and Parts) - Bulla, Stephen
2nd Section Test Piece 2016 National Finals of the British Brass Band Championship.
Estimated dispatch 7-14 working days
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£75.90SCOTS MISCELLANY, A (Brass Band Set - Score and Parts) - Fernie, Alan
National Finals of the British Brass Band Championships 2009 2nd Section test piece. A Suite in 3 Movements: The Smiling School for Calvanists; Regards to G. Robin Henderson, Esq. of Caithness; John Whyte's Reel.
Estimated dispatch 7-14 working days
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£59.95Judd: Celestial Prospect
Selected as 2nd Section test piece for 2003 'Regionals'Wilfred Heaton originally composed Celestial Prospect in the 1940's but, so the story goes, it was rejected by the SA Editorial 'chiefs' as being too modern. The original manuscript was lost for many years, turning up in the 1980's in New York. Heaton re-worked it for the New York Staff Band, and it is now accepted as a classic of the SA 'Festival' genre. Degree of difficulty - 8
Estimated dispatch 7-14 working days
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£44.50
In Memoriam - Arthur Sullivan - Neville Buxton
Written before teaming up with W.S. Gilbert, the first performance of "In Memoriam" was in 1866 at the Norwich Festival. Just before Sullivan started the composition, his father passed away. Sullivan turned his grief to the completion of this overture. It is also thought that the work was initially inspired by a poem of the same name by the Lord Tennyson Alfred. The overture enjoyed much success during Sullivan's lifetime, although sadly is seldom heard today. This arrangement of the work is the 2013 set test piece for the Butlins Mineworkers Open Brass Band Festival, 2nd section.
In Stock: Estimated dispatch 1-3 working days
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£107.95Symphony in Two Movements (Brass Band - Score and Parts) - Gregson, Edward
Selected as the Championship Section test piece for the National Brass Band Championships of Great Britain 2025This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£57.95Symphony in Two Movements (Brass Band - Score only) - Gregson, Edward
Selected as the Championship Section test piece for the National Brass Band Championships of Great Britain 2025This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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