Results
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£32.95
Lohengrin, Intro to Act III - Richard Wagner
Estimated dispatch 5-14 working days
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£37.50Saul & David - Prelude Act 2 Pb 6 - Carl Nielsen
Estimated dispatch 5-14 working days
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£37.95Overture (Act 1) (Score and Parts) - Andrew Lloyd Webber arr. Keith Wilkinson
The official authorized brass band arrangement one of the overture from Andrew Lloyd Webber's The Phantom of the Opera.
Estimated dispatch 7-9 working days
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£26.50
Prelude to Act III 'Kunihild' - Kistler, C - Zurmuhle, O
Includes a full band set (no score)
In Stock: Estimated dispatch 1-3 working days
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£29.50The Lord Of The Dance - Ronan Hardiman - Gavin Somerset
During an interval at the Eurovision Song Contest in 1994, Michael Flatley & the 'Riverdance' cast took the world by storm and continued to achieve worldwide success. Michael Flatley left 'Riverdance' with the dream of creating a show that was suitable for performances in arenas and not just traditional theatres - 'The Lord Of The Dance' was born. Using the traditional US shaker hymn 'The Lord of the Dance' as the shows main theme, Ronan Hardiman adapted the music to be bursting with life. This arrangement by Gavin Somerset is full of excitement and energy, arranged to ensure this effect is playable by most levels of bands. A real crowd pleaser & finale act that will have the audiences on their feet!
In Stock: Estimated dispatch 1-3 working days
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£29.50
Masquerade - Carl Nielson - Bill Willis
The opera, Masqurade, plot revolves around Leander and Leonora, two young persons who meet fortuitously at a masquerade ball, swear their undying love for each other and exchange rings. The following day, Leander tells a servant of his newfound love. He soon becomes distraught when informed by the servant that his parents have betrothed him in marriage to a neighbour's daughter. Things get complicated when Leonard, the neighbour whose daughter is the other part of the previously unknown arrangement, comes complaining to Leander's father that his daughter is in love with someone she met at the masquerade last night. In the third act, all is resolved when the various parties slip off to the night's masquerade, where all is revealed to everyone's mutual satisfaction. The overture is a stunning work, very entertaining for audiences and players alike.
In Stock: Estimated dispatch 1-3 working days
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£24.50O Isis Und Osiris - W.A. Mozart - Andi Cook
The Magic Flute (Die Zauberflote) is one of Mozart's most successful operas, premiered only 2 months before the composer's early death. Skilfully arranged now as an Eb Tuba solo (with an Euphonium solo part as an alternative option), this is a chance for your band's tuba player to show the instruments in a new light, not often seen on the concert stage. The Aria O Isis Und Osiris is performed at the start of the second act of the opera and allows the soloist to show off the more lyrical and operatic side of the instrument.
In Stock: Estimated dispatch 1-3 working days
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£36.05Polka from 'The Bartered Bride' (Brass Band) Smetana arr. Rob Bushnell
Considered a major contribution to the develop of Czech music, The Bartered Bride by Bedrich Smetana is a comic opera in three acts that premiered, in its final version, in 1870; having not been a great success when the original two-act version premiered at the Provisional Theatre, Prague on 30 May 1866. The opera was part of Smetana's aim to create a native Czech music after the conductor Johann von Herbeck commented that Czechs were incapable of making music of their own. Whilst he avoided the direct use of folksongs, Smetana did use numerous traditional Bohemian dance forms, such as the furiant and the polka, leading to music that was Czech in spirit. 'Sold Bride', a more accurate translation of the original Czech title (Prodana nevesta), tells the story of two lovers (Marenka and Jenik) who want to marry despite Marenka's father's obligations for his daughter to marry the son of a wealthy landowner, Micha. Scheming, condition proposals and secret identities leads to a happy ending. The polka was not in the original 1866 version. A revision in October 1866 saw the addition of a gypsy dance near the start of act 2. But by the next performance in January 1869, this had been replaced by a polka. In June 1869, a new polka replaced the January version's (as well as being moved to the end of act 1) and this is the one that we know and love today. This arrangement is for British-style brass band, with *alternative parts for horns in F and bass-clef lower brass. Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb* 1st Horn Eb* 2nd Horn Eb* 1st Baritone Bb* 2nd Baritone Bb* 1st Trombone Bb* 2nd Trombone Bb* Bass Trombone Euphonium Bb* Bass Eb* Bass Bb* Timpani Percussion (Triangle, Cymbal(s) & Bass Drum)
In Stock: Estimated dispatch 1-3 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - 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.
Estimated dispatch 7-14 working days
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£82.95Benvenuto 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.
Estimated dispatch 7-14 working days
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