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£75.00As Above, So Below - Jay Capperauld
An original composition for brass band and brass quintet by Jay Capperauld was commissioned by John Wallace and The Wallace Collection with the support of the PRS Foundation's Beyond Borders. This major work enjoyed its world premiere at The Cumnock Tryst on 30 September 2017 at Cumnock Old Church, performed by The Wallace Collection and Dalmellington Band, conducted by Martyn Brabbins.If you would like to perform this work, please don't hesitate considering The Wallace Collection to provide the brass quintet elements - if you would like to discuss potential performances, please contact us on [email protected] NotesBased on the Hermetic maxim "As Above, So Below", the phrase comes from the cryptic text of The Emerald Tablet, which was purportedly written by a mysterious character who is thought of as an amalgamation of Greek and Egyptian Gods, Hermes Trismegistus. The text first appears in Arabic between the 6th and 8th Centuries and is intended to outline the primitive and hidden sources that constitute the basis of all matter in the universe. The phrase "As Above, So Below" implies an essential "oneness" of all matter and a correlation between the physical elements and supernatural entities that make up our surroundings. The philosophies expressed within The Emerald Tablet have become a founding principle of Alchemy, Occultism, Witchcraft, Theosophy and various other ancient gnostic systems of belief, and this work attempts to explore these forms of so-called "secret knowledge" in a ritualistic trance-like Adagio steeped in the esoteric.The Brass Band is placed at the centre of the stage while the solo Brass Quintet are spread antiphonally around the concert hall and are placed above both the Brass Band and the audience in an attempt to create a direct dialogue between the Above and the Below. Therefore, the piece endeavours to explore the meaning behind the text of The Emerald Tablet as well as the phrase 'As Above, So Below' in a music context while giving particular attention to the 'SOLVE' (Latin for 'Separate' which correlates to the Above) and 'COAGLUA' (Latin for 'Join Together' which relates to the Below) that is depicted in the image of the Baphomet by the French occultist author, Eliphas Levi, which is a visual representation of the phrase 'As Above, So Below'.Additional Note of InterestIt was not until the work was complete that the role of the main melody became clear when an unexpected and inadvertent correlation between this melody and that of the Latin Dies Irae presented itself. The plainchant nature of As Above, So Below's melody became a defining feature of the piece and when compared to the melody of the Dies Irae (a similar melody reminiscent of that contained within As Above, So Below), some interesting and unsettling implications unveiled themselves.The findings of a comparison can be interpreted as follows:Both melodies adhere naturally to the plainchant idiom, which in itself strongly relates to a supernatural (or quasi-religious) element in both cases.Both melodies originate in the key of D; the Dies Irae resides in the Dorian Mode on D while the As Above, So Below melody inhabits the D Octatonic Scale.Both melodies can be divided into three distinct phrases, although the melody to As Above, So Below can be divided into three phrases in a number of ambiguous ways.The most striking and unnerving connection is that, by pure chance, the Latin text to the Dies Irae fits perfectly under both melodies giving an entirely specific context to how the melodies are perceived.By understanding the As Above, So Below melody as an alternative to that of the Dies Irae and by interpreting it in the same context, the connotations of the Dies Irae's otherworldliness, and the suggestion of a dialogue with the supernatural and death adds a richer dimension to the As Above, So Below melody which in turn solidifies the esoteric concept of this work.In conclusion, this unanticipated and purely accidental relationship between both melodies is worthy of note more so from an emotional and contextual perspective rather than from any analytical evaluation concerning the music itself - it is the circumstance of the so-called "secret knowledge" that has presented itself within the inner workings of As Above, So Below.
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£35.00In Pitch Black - Lucy Pankhurst
An extremely emotional and poignant work for brass band composed by Lucy Pankhurst, in memory and tribute to those affected by the Pretoria Pit disaster in Lancashire on 21st December 1910. The piece is chilling in its depiction of the tragic story, sensitively conveying the atmosphere and emotions as perceived before, during and after the event. Through its use of playing techniques, effects, sound combinations and even silences, In Pitch Black offers a powerfully reflective piece.Pritoria Pit DisasterLancashire's worst pit disaster and Britain's third largest loss of life from a single mining accident happened at the No. 3 Bank Pit belonging to the Hulton Colliery Company, just 4 days before Christmas 1910. The pit known as the 'Pretoria Pit' was situated on Hulton Parkland on the border of Atherton and Westhoughton. An explosion occurred at 7.50 am on Wednesday, 21 December 1910, resulting in the death of 344 men and boys, including many members of The Wingates Band.The Writing ExperienceDuring Lucy's research for this work, she acknowledges that she found the harsh reality from the shocking images and historical accounts of the event most disturbing, and is not embarrassed to disclose that it was wholly a very emotional experience in creating the composition. Consequently, she chose to create something to illustrate the true emotion of the situation. She wanted to pay tribute to the lives lost and the devastation which remained in their absence, by creating a piece of music which begins in darkness; desolate and claustrophobic, whilst still leaving the audience feeling uplifted and thoughtful in the final bars.The significance and musical appreciation for the creation of In Pitch Black was formally recognised by BASCA in 2011, when Lucy Pankhurst won the internationally acclaimed British Composer Award (the first time a brass band work had received the award, and the first time a female composer had won the category).Full programme notes are included in the product images.Look and Listen (performance courtesy of Manchester University Brass Band):
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£45.00Bathgate Hills Trilogy - Andrew Duncan
Composed by Andrew Duncan and written for the West Lothian Schools Band, A Bathgate Hills Trilogy is in three movements, each one dedicated to and representing a different hill.Comments from the composer:Movement 1 - Dechmont LawThe first movement describes the peculiar events which took place in November 1979 when a forestry worker, Bob Taylor, had a close encounter with an alien spacecraft in Dechmont Woods at the bottom of Dechmont Hill. Bob Taylor's account from the time describes a large sphere like object about twenty feet across which pulled him by the legs towards it, caustic smoke then caused him to pass out. He awoke a short time later in the same spot but the spaceship had gone leaving behind marks in the soil. His story caused a great deal of media interest and a great deal of excitement in the local community.Movement 2 - The Knock HillThe Term 'Knock' is Scottish Gaelic for 'hill' and the Knock Hill is the highest peak in the Bathgate Hills being 305 metres above Sea Level. On a clear day the Knock hill has excellent views of the Bass Rock to the East and the distant hills of Arran to the West as well as of the whole of West Lothian and across the Firth of Forth to Fife and beyond to the North.The second movement is a description of a leisurely walk to the summit of this hill and the enjoyment of a pleasant summer's day spent walking and taking in the beautiful panoramic views. However, as is the case with the Scottish Summer, a change in the weather finds a clear blue sky being replaced with dark rain clouds. The changed weather brings a sudden brief but unwelcome cold downpour of rain, drenching anyone out walking! Finally, the clouds pass and the more pleasant summer weather returns.Movement 3 - Cairnpapple HillCairnpapple Hill is a near neighbour of the Knock Hill. It is almost as high but interest in Cairnpapple Hill lies in the outstanding archaeological monument near the summit, an Iron Age burial chamber. The chamber dates back to 25 years BC and was built by a mysterious people known as the Beaker People (so called because they left behind a number of large earthenware beakers). The mysteries of Cairnpapple Hill have always been a source of fascination for me ever since first visiting the hill as a school child.The third movement describes the lives of the Beaker People. The landscape they would have looked out on would have been mostly dense forest which would have contained many perils including dangerous wolves and bears. Life was harsh and short for the Beaker People and they would always have been close to danger and to death. The average life expectancy for the Beaker People was only 31 years of age. The summit of the hill would have been clear of forest and would have afforded the Beaker People some protection as they could see all around the near countryside enabling them to keep a watchful lookout for their enemies - both animal and human!
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£30.00Man In His Labour Rejoiceth (Band Parts Only) - John Ireland
This beautiful piece written by John Ireland, with words by Robert Bridges, has now been reborn.Originally commissioned by the National Coal Board in 1947 it is believed to have been performed on May 1st 1948 at the the Haringey Stadium, involving 9 bands and 8 colliery bands. Since the original brass band parts (which bring the piece to life in its full glory) were lost over time, the John Ireland Trust committed to a project to ensure the music was not lost forever.Andrew Duncan was commissioned with the honour of recreating the brass band set to bring the full performance of band and choir back to the public's enjoyment. His attention to detail and widespread knowledge of Ireland's writing style have now enabled 'Man in his Labour Rejoiceth' to be fully recreated and appreciated in its original written form, offering bands a remarkable opportunity to perform an historically significant concert work.Choir parts are sold separately and are available from The Music Company (UK) Ltd (please call 0845 68 08452 for more details) or Stainer & Bell Ltd (Catalogue Ref: 20303)
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£30.00National Express
I first heard of the song National Express, which was in the British Top Ten in 1998, when my son Jon mentioned it last year. It was written and sung by Neil Hannon, with his group "The Divine Comedy". Jon said that it would sound good played by a brass band. Tim Benson, solo trombone with Stannington Brass Band, also mentioned it on the internet forum, themouthpiece.com I spoke with Tim, and agreed to do a brass band arrangement with a special feature for solo trombone. In this arrangement, the solo trombone adds extra colour to a band arrangement which is a mixture of big band and country style. The trombone part is well within the capabilities of a good player. There is a comic element to this song, and the cornets and flugel contain an eight bar spoken part, which, if included, would enhance it's entertainment value.Tim Benson took the music to rehearsal at Stannington Brass Band and it instantly became a hit with the band who left whistling the melody. The piece not only retains the fun of the original, but it cleverly uses the band, and a bit of additional vocals from the cornet section. "Tim Benson and the Stannington Brass Band would like to thank Tim Paton for the arrangement." (Tim Benson)."National Express" is on Stannington Brass Band's latest CD, "AND ALL THAT BRASS", available from [email protected]."Pontins was brilliant... one of the highlights of my weekend was playing/performing National Express... absolutely belting arrangement Tim... I love it!" Message from Fiona, who performed with themouthpiece.com scratch band at the Pontins Brass Band Championships in Prestatyn.
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£30.00Russian Rag - George L Cobb, Sandy Coffin
Interpolating the world famous"Prelude" by RachmaninoffCommissioned by John Wallace, this arrangement of Russian Rag has been crafted by Sandy Coffin through close listening of the available recordings of the Harlem Hellfighters Band. Sandy had been heavily involved with the Historic Brass Society symposium 2017 held in New York and assisted John with his research on this fascinating band and the style of music it generated.Eye-witness accounts refer to the 369th band 'dancing' rather than 'marching'. Above all, in modern performance, finding a 'dancing beat' is crucial to a successful performance of this Ragtime march in order to do justice to the great pioneering work of James Reese Europe. Note the cheeky virtuosity and rubato!Look and Listen (courtesy of Tullis Russell Mills Band):Background to the Harlem HellfightersThe US Army 369th Regiment, made up largely of African-Americans from New York, became known as the Harlem Hellfighters because of the heroic reputation which accrued to them during the actions they engaged in during the First World War in Europe.James Reese Europe was one of the most active African-American composer/musical directors in the pre-war American music scene. The legendary Harlem Hellfighters Band, which he assembled in 1917 from African-American and Puerto Rican musicians, came at an important transitional point in musical history. A new form of music called jazz was emerging from Ragtime and the performing style of Europe's band was immersed in the flow of this new direction.Europe's Harlem Hellfighters influenced and inspired everyone who heard them, including the welcoming crowd when they disembarked in France, bowled over by their swinging rendition of La Marseillaise. Reese Europe became a war hero, commanding a machine-gun unit as well as the band.On return from War in 1919 the band led a ticker-tape parade along Fifth Avenue in New York and soon made about 30 shellac recordings. These recordings display some of the fingerprints of their performing style: ragging, improvising, muting, wailing, smearing (their word for glissando) - and from the evidence of their recordings they took the printed page as a blueprint for individuality.In May 1919 during the Hellfighters' triumphant coast-to-coast tour after their return, James Reese Europe was tragically murdered, bringing to premature close, at the age of 39, the work of a great musical innovator.
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£30.00That Moaning Trombone - Carl D Bethel, Sandy Coffin
Comic March One-StepCommissioned by John Wallace, this arrangement of That Moaning Trombone has been crafted by Sandy Coffin through close listening of the available recordings of the Harlem Hellfighters Band. Sandy had been heavily involved with the Historic Brass Society symposium 2017 held in New York and assisted John with his research on this fascinating band and the style of music it generated.Eye-witness accounts refer to the 369th band 'dancing' rather than 'marching'. Above all, in modern performance, finding a 'dancing beat' is crucial to a successful performance of this Ragtime march in order to do justice to the great pioneering work of James Reese Europe.Note the the reckless abandon with which glissando, at that time a novel effect, is used!Look and Listen (courtesy of the Tullis Russell Mills Band):Background to the Harlem HellfightersThe US Army 369th Regiment, made up largely of African-Americans from New York, became known as the Harlem Hellfighters because of the heroic reputation which accrued to them during the actions they engaged in during the First World War in Europe.James Reese Europe was one of the most active African-American composer/musical directors in the pre-war American music scene. The legendary Harlem Hellfighters Band, which he assembled in 1917 from African-American and Puerto Rican musicians, came at an important transitional point in musical history. A new form of music called jazz was emerging from Ragtime and the performing style of Europe's band was immersed in the flow of this new direction.Europe's Harlem Hellfighters influenced and inspired everyone who heard them, including the welcoming crowd when they disembarked in France, bowled over by their swinging rendition of La Marseillaise. Reese Europe became a war hero, commanding a machine-gun unit as well as the band.On return from War in 1919 the band led a ticker-tape parade along Fifth Avenue in New York and soon made about 30 shellac recordings. These recordings display some of the fingerprints of their performing style: ragging, improvising, muting, wailing, smearing (their word for glissando) - and from the evidence of their recordings they took the printed page as a blueprint for individuality.In May 1919 during the Hellfighters' triumphant coast-to-coast tour after their return, James Reese Europe was tragically murdered, bringing to premature close, at the age of 39, the work of a great musical innovator.
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£30.00Wicked - Lucy Pankhurst
A fascinating and upbeat composition from Lucy Pankhurst, offering great creativity with sound combinations and some funky rhythms!Originally written for and dedicated to The Wingates Band, the opening of this wild piece features the euphonium with some challenging playing effects - all the better for grabbing the attention of the audience. It's not long before the strong rhythms get those toes tapping, and other players join in with their own 'wicked' contributions.It's fast-paced, incredibly rhythmic and demands the listeners' attention right from the outset. Take a look at the performance below to fully appreciate the captivating nature of the piece.Look and Listen (courtesy of Ensemble de Cuivres Valaisan):
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£20.00
Xmas Ditty - Tim Paton
Seasonal 'fun' for the band, (and the audience of course).Robert Childs commented:It begins with yet another rendition of Jingle Bells, "Wait a minute though, is someone out of tune somewhere? Who is that who some of the band are shouting at? Why am I thinking of Les Dawson? ... Back to the music - it's Good King Wenceslas, how did Rule Britannia get in there? ... and I'm sure that was the end of God Save the Queen".After an unadulterated version of O Come, all ye faithful, the final section features Jingle Bells and Good King Wenceslas claiming the last spot together.The piece ends with the well known 'AMEN' cadence - but there's still a little surprise on the last chord! "..is subtitled 'seasonal fun for band and audience', and it certainly is just that!"
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£25.00
Zephyrus - Andrew Duncan
The Big Blow', was a formal record attempt to create the largest brass band in the world. It took place at Butlin's Resort, Skegness on 20 January 27 and in addition to the fun generated by the event itself, it's main goal was to raise money in support of the work of Brass Band Aid, and specifically to provide long-term sponsorship for two children in the village of Adet, Ethiopia.The Music Company (UK) Ltd were one of the Official Partners of The Big Blow, providing the performance piece for the record attempt. As Editorial Director of the company, Andrew Duncan wrote 'Zephyrus' to mark the occasion.Originally presented at the event as 'March - The Big Blow', the published re-titling of 'Zephyrus' provides a more subtle alternative, taking its name from the Greek God of the West Winds.'Zephyrus' is a traditional British brass band march with an interesting African-feel lilt to the trio. This is enhanced by optional percussion instruments including djembi and bongos, which can also be covered by standard drum kit. A positive, upbeat concert march to reflect the sentiment behind 'The Big Blow' record attempt.There were 443 participants in total, including:Soprano Cornets x 12Cornets x 152Flugels x 19Tenor Horns x 68Baritones x 32Euphoniums x 32Trombones x 55Eb Basses x 35Bb Basses x 17Percussionists x 21The Music Company are pleased to continue their support of Brass Band Aid by offering a donation to this worthy charity for every set of this music sold.
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