Results
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£104.99The Baltic Way (Brass Band - Score and Parts) - De Haan, Jan
In 1989, the demonstration named the Baltic Way also known as the Baltic Chain-- was held in the Baltic states of Estonia, Latvia and Lithuania by its citizens in a call for independence from the Soviet Union. On 23rd August 1989, some two million participants formed a human chain, hand-in-hand all the way from the Estonian capital of Tallinn its Latvian counterpart, Riga, through to the Lithuanian capital of Vilnius - six hundred kilometres long. It became the longest human chain ever created and turned out to be the final push needed for much sought-after independence. This historic event became the source of inspiration for this composition. The introduction of thefirst movement, 'Struggle for Independence', is based on a nocturne for piano by the renowned Lithuanian composer and painter Mikalojus Konstantinas iurlionis (1875-1911), thematic material from which has been incorporated throughout the whole composition. The melancholic beginning is followed by a powerful theme which reflects the resolve of the Baltic people. The sudden aggressive, dissonant chords and a dominant and--in rhythmic terms--contrary bass drum announce that the resistance is not going smoothly. Just for a moment, we hear the anthem of the Soviet Union in the lower brass, but this is relentlessly pushed to the background by the rest of the band playing the Lithuanian national anthem, 'Tautika giesm ' (Lithuania, our homeland). The second movement, 'Decades of Suffering', echoes life under the Soviet Union's thumb. In the pursuit of independence, a peaceful protest is planned in which a human chain is formed across the Baltic states of Estonia, Latvia and Lithuania. This 'Chain of Freedom' is depicted in the final movement of the work. Duration: 10.30
Estimated dispatch 7-14 working days
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£89.95TRUMPETS OF THE ANGELS (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95
TRUMPETS OF THE ANGELS (Gregson) (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£102.60Voluntary Artillery & Rifle Corps March - Endeerby Jackson
The march was written by Enderby Jackson and performed during a series of brass band events which took place at the Crystal Palace, London 1860 - 1863. Enderby Jackson was the organiser of these historically important events, and also conducted the massed band concerts. The Volunteer Force was a part-time, citizen army created in May 1859 by the British government as a result of increasing tensions between Britain and France. By 1862 more than 200,000 men had enlisted and were paid when on duty however, each member of the corps had to provide his own weapon and equipment.Some of the volunteer corps had bands which normally numbered between six and twelve players plus percussion1 and these bands became an important stimulant to the development of brass band.2 The corps were heavily subsidised by the government and considerable funding was spent on the bands3 which were often local brass bands. These bands were often provided with rehearsal rooms, instruments and uniforms,4 furthermore, the volunteer movement created and saved many brass bands.5Most of the musicians performing at the Crystal Palace Contests were affiliated to the Volunteer Force.
Estimated dispatch 5-14 working days
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£10.99
Overture for Brass (Score) - arr. Mark Freeh
From symphonies to big band jazz, and from chamber works to Latin American music and film scores, the music of Argentian-born composer and arranger Carlos Franzetti (b.1948) has won many prestigious awards. This exciting six minute overture, Overture for Brass, was arranged by Mark Freeh and has been recorded by the GUS Band, conducted by Bramwell Tovey.Brass Band Grade 4: Advanced Youth and 3rd SectionDuration: 6 minutes.
In Stock: Estimated dispatch 1-3 working days
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£45.00
Overture for Brass (Score & Parts) - Carlos Franzetti
From symphonies to big band jazz, and from chamber works to Latin American music and film scores, the music of Argentian-born composer and arranger Carlos Franzetti (b.1948) has won many prestigious awards. This exciting six minute overture, Overture for Brass, was arranged by Mark Freeh and has been recorded by the GUS Band, conducted by Bramwell Tovey.Brass Band Grade 4: Advanced Youth and 3rd SectionDuration: 6 minutes
In Stock: Estimated dispatch 1-3 working days
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£39.99Overture for Brass (Brass Band - Score and Parts) - Franzetti, Carlos - Freeh, Mark
From symphonies to big band jazz, and from chamber works to Latin American music and film scores, the music of Argentian-born composer and arranger Carlos Franzetti (b.1948) has won many prestigious awards. This exciting six minute overture, Overture for Brass, was arranged by Mark Freeh and has been recorded by the GUS Band, conducted by Bramwell Tovey.Suitable for Advanced Youth/3rd Section Bands and aboveDuration: 6.00
Estimated dispatch 7-14 working days
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£40.00Carnival of the Animals
Saint-Saens composed The Carnival of the Animals in 1886. He regarded the work as a piece of fun and was adamant that the work would not be published in his lifetime. It was published in the year following the composer's death and the first public performance was given on 25th February 1922. It was well-received and has since become one of Saint-Saens's best-known works.This brass band transcription contains six of the original fourteen movements and opens with Introduction and The March of the Royal Lion a brief, dramatic beginning is followed by a stately march for the 'King of Beasts' that is interrupted from time to time by the lions' formidable roar, depicted by ferocious, low chromatic scales. In The Elephant, a solo B flat Bass sings a doleful song made from melodies 'borrowed' from Mendelssohn and Berlioz without apology. Next comes the relentless descending third of A Cuckoo in The Deep Woods. Fossils are clearly not animals, but some of them undoubtedly were at some point, so Saint-Saens has some fun with the xylophone rattling around like a box of old prehistorix bones. Among some little musical quotes you can listen out for 'Twinkle, Twinkle, Little Star and some references to his own 'Dance Macabre' whilst opera buffs may recognise Rossini's
Estimated dispatch 5-7 working days
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£82.95
The Flowers of the Forest (Brass Band - Score and Parts) - Bennett, Richard Rodney - Hindmarsh, Paul
In a preface to the score, the composer explains that 'the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man'. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy's tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett's march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.
Estimated dispatch 7-14 working days
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£44.95
The Flowers of the Forest (Brass Band - Score only) - Bennett, Richard Rodney - Hindmarsh, Paul
In a preface to the score, the composer explains that 'the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man'. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy's tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett's march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.
Estimated dispatch 7-14 working days
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