Results
-
£37.95Whistle Down the Wind (Score and Parts) - Andrew Lloyd Webber arr. Ray Farr
The title song from the Lloyd Webber/Jim Steinman musical Whistle Down The Wind which was reset in the American south.
Estimated dispatch 7-9 working days
-
£48.95A Christmas Suite (Score and Parts) - Stephen Bulla
The three-movement suite begins with the jaunty Wassail Song. The second movement is a wonderful version of Lo, how a rose e're blooming while the final movement is a bustling Pot-pourri with hints of several Christmas favourites. This new edition features a freshly engraved A4 size full score and parts and is compatible with the first edition.
Estimated dispatch 7-9 working days
-
£37.95The Holy Boy (Score and Parts) - John Ireland arr. Eric Wilson
A gentle rocking song for a newborn King. This is one of Ireland's best-known works and ideally suits the warm homoginous sound of the brass band.
Estimated dispatch 7-9 working days
-
£40.00The Lord is King! (Score only) - Philip Wilby
The Lord is King! for baritone solo, Chorus, Organ (ad lib.) and brass band was rst performed by the North Yorkshire Chorus with the Grimethorpe Colliery Band in 1999. It is also available with solo trumpet and organ accompaniment. It is made up of three colourful song settings: The Trumpet, Come Down, O Love Divine, and Psalm 96.
Estimated dispatch 7-9 working days
-
£50.00The Lord is King! (Parts only) - Philip WIlby
The Lord is King! for baritone solo, Chorus, Organ (ad lib.) and brass band was rst performed by the North Yorkshire Chorus with the Grimethorpe Colliery Band in 1999. It is also available with solo trumpet and organ accompaniment. It is made up of three colourful song settings: The Trumpet, Come Down, O Love Divine, and Psalm 96.
Estimated dispatch 7-9 working days
-
£11.95The Lord is King! - Philip Wilby
The Lord is King! for baritone solo, Chorus, Organ (ad lib.) and brass band was rst performed by the North Yorkshire Chorus with the Grimethorpe Colliery Band in 1999. It is also available with solo trumpet and organ accompaniment. It is made up of three colourful song settings: The Trumpet, Come Down, O Love Divine, and Psalm 96.
Estimated dispatch 7-9 working days
-
£30.00Edward Gregson: Birthday Prelude for Brass Band
DescriptionThis short work for brass band was written in 1982 for a concert to celebrate the 80th birthday of Harry Mortimer, one of the great figures in the world of brass bands. Not surprisingly, it references the well-known song Happy Birthday, in a breezy, up-tempo, short concert prelude.The premiere was given at the Free Trade Hall in Manchester by the Fodens Band, conducted by Howard Snell.In 2014 the composer revised it for a trip to the North American Brass Band Championships, where it was performed, also as an 80th birthday tribute, this time to the composer's brother Bram; it was subsequently dedicated to both Harry Mortimer and Bram Gregson.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
-
£10.00Edward Gregson: Concertante for Piano and Brass Band
DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion.https://www.morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
-
£7.50gemini
Descriptiongeminiis a virtuosicsolo for unaccompanied cornet, inspired by the constellation of the same name and one of a small sequence of works inspired by the composer's love of astronomy.Gemini is a constellation visible in the night sky overhead in January and February, between Taurus, Cancer and Auriga. Gemini is latin for "twins", as the constellation's two brightest stars represent the mythological twins Castor and Pollux. Bizarrely, despite being twins, Castor and Pollux had two different fathers and hence two different fates and personalities. This work is dedicated to the composer's friend Lizzy Tonge. The opening melody takes its outline from the song 'Thank You' by Dido.Listen to an audio preview while following the music below:
Estimated dispatch 7-14 working days
-
£10.00The Once and Future King
DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!
Estimated dispatch 7-14 working days
View Music