Results
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£5.00O Mio Babbino Caro (Trombone or Horn Solo and Piano Accompaniment)
This famous aria is from the opera Gianni Schicchi. Lauretta, daughter of Gianni Schicchi, has fallen in love with Rinuccio but there are huge tensions between their two families which threaten to keep the young couple apart. The rather discordant music which opens portrays these tensions before giving way to Lauretta's tender appeal to her father to allow her to marry the man she loves. A brass band arrangement of this aria was prepared at the request of Brett Baker to be performed with Brass Band Of The Western Reserve, musical director Dr Keith M Wilkinson, during his visit in May, 2011. This piano accompaniment version will make this beautiful music accessible to more soloists.Parts included for Trombone BC, Trombone TC, Eb Horn, F Horn and Piano Accompaniment
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only)
Berliozs opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph.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 Cardinals 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 Teresas 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)
Berliozs 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 Cardinals 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 Teresas 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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£63.34We Seven (Brass Band) Derek Jenkins
We Seven, the title of this work, comes from a book by the same name written by the United States's first astronauts. The composer writes: 'In 1959, the United States entered the space race by starting a programme whose main aims included sending a solo astronaut into space and recovering him safely. Project Mercury, as this programme was so called, recruited the first seven American astronauts and successfully sent six of them into space. These men were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton, and collectively they became known as the 'Mercury Seven.' Through their efforts and those of countless others, the United States Space Program accomplished much with these six flights, including successfully sending an astronaut into space, putting a man in orbit, and keeping him up there for more than 24 hours. In 1962, shortly after Glenn and Carpenter's orbital flights, the 'Mercury Seven' co-wrote the book We Seven and throughout it, the astronauts discuss the events leading from their selection into the programme up through Carpenter's flight in May of 1962. The primary material for the work comes from two sources: the use of musical cryptograms to encode the astronauts names and initials into pitches and the aria 'Un bel di vedremo' from Giacomo Puccini's opera, Madame Butterfly. The inclusion of the latter comes directly from one of Glenn's chapters in the book. Together with a couple of the other astronauts, he would often listen to the opera to unwind from a long day of training. I would like to think that as he was orbiting the Earth that this opera, particularly this aria, would be running through his mind.' This work commemorates the Project Mercury on the 50th anniversary of its conclusion and was written for Joseph Parisi and the University of Missouri-Kansas City Wind Ensemble. This version for brass band has been prepared by the composer for the Fountain City Brass Band. To view a video of Fountain City Brass Band performing the work please visit: www.youtube.com/watch?v=yD3sBWhGkOo Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 1st Section + Instrumentation: 1 Soprano Cornet (Eb) 9 Cornets (Bb) [Both 3rd Cornets double Crystal Glasses] 1 Flugelhorn 3 Tenor Horns (Eb) [2nd Horn doubles Crystal Glasses] 2 Baritones (Bb) 2 Trombones (Bb) 1 Bass Trombone 2 Euphoniums (Bb) 2 Basses (Eb) 2 Basses (Bb) 4 Percussion
In Stock: Estimated dispatch 1-3 working days
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£34.95Vissi d'arte - Christopher Bond
Vissi d'arte is a soprano aria from act 2 of the opera Tosca, by Giacomo Puccini. It is sung by Floria Tosca in total anguish, in the form of a prayer to God, asking 'why he rewards her thus?'. Just before the aria is performed (and the reason for its presence) Baron Scarpia, the chief of police, tells Tosca that in order to save her lover Cavaradossi's life, she must sleep with him. Vissi d'arte is Tosca's cry of anguish; she reasons that although she has never done anything wrong, she is still being faced with an impossible choice: either way, she will have to betray Cavaradossi, in the form of sleeping with another man, or not doing everything she could to save his life. This arrangement was made for Rose Hancock and City of Cardiff (Melingriffith) Brass Band for their performance at the 2020 Welsh Open Entertainment Contest.
Estimated dispatch 5-10 working days
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£43.00Fantasia on Themes by Purcell (Brass Band - Score and Parts) - Shepherd, Ian
Fantasia consists of three distinct sections that use thematic material from three separate pieces by Henry Purcell. The first section is based on the march from Funeral Music for Queen Mary which is dramatically dark and powerful but also uplifting. The Second section uses the devastatingly beautiful aria Dido's Lament or When I am laid in earth from the opera Dido and Aeneas as its basis and builds to enormous proportions, unlike the original aria. The third section begins with a haunting reference to the Rondo from Abdelazer. Gradually, this builds towards an exciting re-statement of the theme in the first section to the finale. Duration: 8.30
Estimated dispatch 7-14 working days
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£59.99Let Me Weep (Brass Band - Score and Parts)
Let Me Weep ('Lascia ch'io pianga') is an aria from Handel's opera 'Rinaldo'. According to reports he composed the music for the complete opera in just 14 days, using many melodies from earlier works. The melody of this wonderful aria is known all over the world and this arrangement by Jacob de Haan retains all the passion of the original. 03:15
Estimated dispatch 7-14 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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£30.00Fantasia on themes by Purcell - Ian Shepherd
Fantasia consists of three distinct sections that use thematic material from three separate pieces by Henry Purcell. The first section is based on the march from Funeral Music for Queen Mary which is dramatically dark and powerful but also uplifting. The Second section uses the devastatingly beautiful aria Dido's Lament or When I am laid in earth from the opera Dido and Aeneas as its basis and builds to enormous proportions, unlike the original aria. The third section begins with a haunting reference to the Rondo from Abdelazer. Gradually, this builds towards an exciting re-statement of the theme in the first section to the finale.
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