Results
-
£45.60Bleak Forest - Andreas Ziegelbäck
Bleak Forest is a piece for smaller concert bands and offers the musicians above all space to improve their sound and their effect playing. The technical requirements are therefore deliberately kept low. With this piece, the composer won the VLAMO International Composition Contest 2022. Thematically, the work is influenced by the composer's childhood memories. In his hometown there was a dark and mysterious forest, that seemed to the children in the small village to be magical. Without a reasonable explanation, every trip into the woods was exciting and somewhat terrifying. There were tales of dangerous animals, which can be heard at the beginning of the piece, as well as magical beasts. The magic of the forest is depicted musically from bar 70 in the andante section. The snapping of the fingers represents single raindrops. From bar 99 onwards, we hear the trek home, with the occasional moments of trepidation as the children spook each other with their fanciful tales. In the end, though, we arrive safely at home because after all, magical beasts only exist in fairy tales... don't they? Andreas Ziegelback studied music education at the Mozarteum University in Salzburg, and history at the Paris Lodron Universitat, Salzburg. In addition to his studies, he trained in ensemble conducting for wind orchestra with conductor and composer Thomas Doss. It was Doss who sparked Ziegelback's interest in composing. In 2021, Andreas Ziegelback completed his composition studies with Johannes Maria Staud. In 2020, he took part in a brass band composition masterclass in Bern with Oliver Waespi, followed by a premiere by the Swiss Army Brass Band.
Estimated dispatch 5-14 working days
-
£89.99Hobbits - Johan de Meij
Johan de Meij's first symphony The Lord of the Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book. This transcription for brass band, arranged by the composer has the following movements: I. GANDALF (The Wizard), IV. JOURNEY IN THE DARK (The Mines of Moria and The Bridge of Khazad-D m), V. HOBBITS. The symphony was written in the period between March 1984 and December 1987, and had its premiere in Brussels on 15th March 1988, performed by the The Royal Band ofthe Belgian Guides under the baton of Norbert Nozy. In 1989, the symphony The Lord of the Rings was awarded a first prize in the Sudler International Wind Band Composition Competition in Chicago, and a year later, the symphony was awarded a grant by the Dutch Composers Fund. In 2001, the orchestral version was premiered by the Rotterdam Philharmonic Orchestra and recorded by the London Symphony Orchestra.
Estimated dispatch 5-14 working days
-
£104.99Kefas - Rob Goorhuis
The composition Kefas was written for the brass band 'Apollo' from Grou (The Netherlands), by order of the Unisono Foundation, the organisation for wind music in The Netherlands.The assignment was given on account of earning the Champions Title during the Dutch Brass Band Championships in the year 2001 (4th division). The theme of the composition links the tradition of the village Grou, not to celebrate Sint Nicolaas but Sint Pieter.By this typical Dutch festivity (in December) the holy Nicolaas gives presents to the children. It is a popular custom where young and old participate. Grou is the only place where this is not done by Sint Nicolaas but by Sint Pieter.Apart from that, on the 22th of Februari, a lot of festivities that take place,resemble those of the Sinterklaas celebration. In the composition two Sint Pieter songs are processed, set through bible scenes, wherein in among others the visit of Christ to the house of Peter's Mother-in-law and the calling of Peter are depicted. The title refers to the pronouncement of Christ, where he named Peter the rock on which he shall build his church. The Hebrew word for rock is Kephas. Kefas was premiered in 2003.
Estimated dispatch 5-14 working days
-
£94.99Admiral Spirit - Timothy Travis
The 'Admiral Spirit' is the pride of the Navy. The ship is at sea, there is no wind, the sun is shining. The crew are busy piloting the ship into port in prime condition. The admiral himself will inspect the vessel. The first movement (Allegro Con Spirito) gives musical expression to the majestic ship and its toiling crew. In the second movement (Andante), the ship sails into port. It has been polished and technically everything is in order. The admiral will be proud when he inspects the ship. Third movement (Allegro Molto): the captain and his crew are nervous (modulations) while working at the 'finishing touch'. The Navy Band is ready to receive the admiral !. Hemay be proud of his flagship.
Estimated dispatch 5-14 working days
-
£54.95Sonata - Derek Bourgeois
This work, composed in 1998, was commissioned by the American trombonist Don Lucas as a work for trombone and piano and first performed by him in Birmingham on 19th May 2000. Subsequently, I arranged the music for both solo trombone and brass band and solo trombone and wind band so that it now exists in three formats. The first movement, in B flat major, is brisk and energetic, and is cast in sonata form. The second subject is gentler and more lyrical. The second movement, a scherzo in C major, is the most complex of the four. Basically the structure is a rond. For a long time the music remains in the opening 5/8 time until a new theme introduces more broken rhythms in a more jazzy idiom. After a return of the opening theme the following episode is more tonally ambiguous. Finally, the main theme returns to round off the movement. The third movement, a lyrical adagio, is really one long extended melodic flow. The harmonies are lush and the textures simple and direct. The tonal center is A minor, but the music meanders through so many keys, that this key centre is heavily disguised. The finale is a fiery affair. G minor is really its home key, but throughout the movement the music moves about a lot and the second subject is first heard in A flat minor. The movement's underlying sonata structure is masked not only by its loose tonality but also by its frequently changing time signatures. Like the first movement the second subject is more lyrical in nature and for a while it seems that the music will end peacefully, but a final flurry heralds a triple forte unison on the home note of the first movement - B flat. Derek Bourgeois
Estimated dispatch 5-14 working days
-
£77.00General Series Brass Band Journal, Numbers 2234 - 2237, August 2023
2234: Festival March - Above all names (Geoff McCorriston)This Festival March was originally written for the Camberwell Citadel Band, Melbourne, Australia. This composition marks the composers debut within our band journals. Geoff McCorriston served as Deputy Bandmaster at Preston Corps (Australia) for many years before joining the Camberwell Citadel Band. He has also been a member of the Melbourne Red Shield Band. Above all names is distinct from a standard street march in that it is more developed, both rhythmically and thematically. It is an original march that references We plough the fields and scatter (S.A.S.B. 70) and Camberwell (T.B. 182).2235: Flugel Horn Solo - Father, Creator (Simon Gash)Emma Pears has a gift for contemporary song-writing, with several of her songs featuring in the Sing to the Lord publication. The style and relaxed nature of the melody of Father, Creator (first published in the Children's Voices Series in 2011, and later in the Mixed Voices in 2014) seemed a perfect fit for the Flugel Horn. Throughout the piece, juxtaposed with Father, Creator, we hear snippets of the tune St Theodulph (T.B. 231), which outline the first lines of Albert Chesham's words, 'O Father and Creator, Thou God of perfect love' (S.A.S.B. 46).2236: A winter's carol (trs. Neil Smith)The history of the carol O come, Immanuel (C.C. 62) is, like the carol itself, a little mysterious! The melody was conceived as a monastic chant during the 8th century. It was not until 1851 that the priest and hymn writer John Mason Neale translated the verses into English, exposing the carol to a wider audience. There is an aura and enigmatic feel to this melody which is captivating to so many who hear it. This setting was originally conceived for wind band by American composer Mark Williams. The brass band transcription introduces a new name to our journals, Bandmaster Neil Smith, who is the Territorial Music Director for the USA Western Territory.2237: Mighty to keep (Eiliv Herikstad)Mighty to keep marks the composer's first publication since his Promotion to Glory in April 2023. Bandmaster Eiliv Herikstad served faithfully in his native Norway throughout his life, and since the early 1970s, has provided The Salvation Army with a wealth of original compositions and skilful arrangements. Eiliv explored many styles of big-band and jazz writing which, in the 70s, were not commonplace amongst brass bands, particularly in The Salvation Army. Music Editorial are grateful to Eiliv for using his gifts to support Salvation Army music ministry.The subject of this piece is Herbert Booth's song Mighty to keep, which was first published by The Salvation Army in 1889. The chorus of the song is more well-known that the verse and was included in the chorus section of the 1986 Salvation Army Song Book.
Estimated dispatch 7-14 working days
-
£59.95Judd: Caelum Corona - Stephen Bulla
Stephen Bulla's 'Caelum Corona' ('Crown of Heaven') portrays, in sound, a Christian's walk in faith, intended metaphorically via a musical narrative reminiscent of the early church pilgrims, their struggles and triumphs. The composer initially evokes the atmosphere of Rome at the time of St. Paul and other martyrs, thus the Latin title. Bulla marks his imaginative tone poem with dark, brooding music in the first two of three parts, in each of which he has embedded an appropriate hymn or song reference as thematic material. The first of these sounds in a minor key following a symphonic exposition made up primarily of fanfare-like motives, the music at times quite harsh and abrasive. The song is Paul's statement of exuberant faith (2 Timothy 1:12) in the midst of prison and persecution: 'For I know whom I have believed, and am persuaded that he is able to keep that which I've committed unto him against that day.' More challenging, aggressive music returns until a further point of reflection on Christ's sacrifice is reached. The music graphically evokes the barren landscape of Golgatha, the horror of the crucifixion, including stark wind sounds, a loss of stability via eerie, dissonant chord clusters, and even the nails being driven into Christ's body. The Baritones and then Flugel Horn softly play 'He died of a broken heart.' Yet the Christian life, despite its perils - both at the time of Paul and now - is a victorious life, and the composer resolves the tensions of the work in a scintillating finale, a brilliant setting of the old song about spiritual warfare and the ultimate triumph of Christ the King: 'Victory for me!' (T.B. 841). The chorus of that tune proclaims: 'No retreating, hell defeating, shoulder to shoulder we stand; God look down, with glory crown our conq'ring band.' That crowning is the same one sought and claimed by St. Paul (2 Timothy 4:8): 'Now there is in store for me a crown of righteousness, which the Lord, the righteous judge, will award me on that day, but also to all who have longed for his appearing.' Believers look forward to participating in the final coronation of their Saviour - King of Kings and Lord of Lords - while humbly desiring their own 'crown of heaven.'
Estimated dispatch 7-14 working days
-
£89.95Judd: Infinity
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite.The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
-
£89.95Tuba Concerto (Score and Parts)
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.
Estimated dispatch 7-14 working days
-
£45.00Aurora Awakes
Aurora Awakes was composed in 2020 for Youth Brass 2000. Sometimes referred to as the Northern Lights, Aurora Borealis is a natural light phenomenon in the Earth's s ky. Predominantly seen in high-latitude regions, they are a result of magnetosphere disturbances caused by solar wind. The resulting ionisation (the process of a molecule acquiring positive or negative charge) of atmospheric components emit light of varying colour and complexity. For those of you familiar with the composer's other space inspired works , Aurora Awakes is a slow alternative, exploring the tonal colour and lyricism of the brass band rather than its raw energy. An effective contrast if you choose to programme it following either Starburst or Andromeda . Duration : 00:03:10 Grade : 3 Flexi-Score
Estimated dispatch 5-7 working days
View Music