Results
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£15.00Perseverance
DescriptionPerseverance was commissioned by Middleton Band to mark their 140th anniversary in 2016, supported using public funding by the National Lottery through Arts Council England, and featured on Middleton Band's CD of the same name.The title is taken from the original name of the 1876 band, the Middleton Perseverance Drum and Fife Band. According to the band's historical records, the Drum and Fife band was formed by six Middleton youngsters eager to learn music but short of funds. Following a whip round, they visited a music shop in Oldham where they purchased a 'one key flute' for six shillings and sixpence, and ('later on') a drum.This determination to make music despite the odds has been a characteristic of the band ever since; at the end of the second world war the band was again down to six players, who rebuilt the 'Middleton Borough Band' back to twenty-six players. After a period of some considerable success throughout the sixties and seventies culminating in winning the National Third Section title in 1983 the band hit hard times again in the late eighties and was down to only four members in 1987 before again being brought back to life. In recent decades the band has built a strong relationship with the East Lancashire Railway, another organisation which has battled sometimes mighty obstacles in its struggle to survive, and has maintained a thriving and successful youth band.The band's will to survive through adversity is reflected in the music, which builds from a sextet of four brass and two percussion players three times, only to fall back to the sextet twice. In the central slow movement the bass drum plays a 'heartbeat' rhythm as the remaining players remember those lost in the war. The relentless pace of the final section culminates in the band triumphing over the adversity which has curtailed the previous two sections. As a former member of Middleton Band (and one of the team that regained the National Third Section title in 2007) it is my pleasure to dedicate this work to the 'Pop and Ale Boys', Middleton Band.You can read more about the piece here.To view the accompanying video by Andy Marshall, designed to precede the piece, clickhereand find out more about the link between the video and the music here.Recording with Score VideoPerformance NotesIn performance the four brass members of the sextet (soprano, solo horn, solo trombone and solo euphonium) should stand at the sides of the band - soprano and horn behind the cornets, trombone and euphonium behind the trombones. Percussion may stand with them at the conductor's discretion, but only if the band has TWO snare drums and TWO concert bass drums available, as these are also needed at the back of the band in the tutti sections. In the second sextet snare drum should be muffled with a heavy cloth OR have the snares turned off (not both).Percussion and mutesPercussion required:snare drum (muffled with a heavy cloth at one point)concert bass drum, kit bass drum, hi-hat, suspended (crash) cymbal2 x tom-tomswood blockclash cymbals3 x timpanitam-tamglockenspielSoprano cornet, repiano and 2nd cornets, flugel and all trombones require metal straight mutes. Soprano, Solo Cornet 3/4, Repiano 2nd and 3rd cornets require cup mutes. Solo Cornet 1/2, Repiano, 2nd and 3rd cornets require harmon mutes.
Estimated dispatch 7-14 working days
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£159.99Time Machine (Brass Band - Score and Parts) - Doss, Thomas
Time Machine is a journey through time that begins in the Stone Age. Evolution and the coming of man take place. The journey takes us into the present, in which disorientation and chaos abound. We travel further into the future. An unfamiliar, quiet and surreal landscape lies before us and we wander through it, bewildered as we become aware of the destruction of the environment. Suddenly, and for no reason, memories from our childhood are awoken. Cultures have become completely mixed into one and the evolution of man has run its course. We realise that there is no "afterwards" as before us lies the Stone Age once again... The wheel of time spins blindly on and all is repeated.Duration: 13:30
Estimated dispatch 7-14 working days
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£118.99Elegy I (Brass Band - Score and Parts)
Elegy I 'Jealousy' has been named after John Donne's poem of the same name. This English poet (1572-1631) wrote an entire series of elegies, each with its own theme. Jealousy can trigger various emotions, ranging from disappointment, grief, or regret, to madness and anger. All these emotions have been incorporated into this composition. Jacob de Haan was inspired by three different works of art: a poem (the aforementioned poem by John Donne), a painting by the Norwegian painter Edvard Munch (Jealousy in the Garden) and an old French chanson about jealousy (Je ne l'ose dire) by the sixteenth-century French composer Pierre Certon. The music refers repeatedly to this chanson - sometimes through key notes from the melody that serve as the starting point for new, isolated themes and sometimes through quotations of the original version
Estimated dispatch 7-14 working days
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£159.99Time Machine - Thomas Doss
Time Machine is a journey through time that begins in the Stone Age. Evolution and the coming of man take place. The journey takes us into the present, in which disorientation and chaos abound. We travel further into the future. An unfamiliar, quiet and surreal landscape lies before us and we wander through it, bewildered as we become aware of the destruction of the environment. Suddenly, and for no reason, memories from our childhood are awoken. Cultures have become completely mixed into one and the evolution of man has run its course. We realise that there is no "afterwards" as before us lies the Stone Age once again... The wheel of time spins blindly on and all isrepeated.
Estimated dispatch 5-14 working days
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£118.99
Elegy I - Jacob de Haan
Elegy I 'Jealousy' has been named after John Donne's poem of the same name. This English poet (1572-1631) wrote an entire series of elegies, each with its own theme. Jealousy can trigger various emotions, ranging from disappointment, grief, or regret, to madness and anger. All these emotions have been incorporated into this composition. Jacob de Haan was inspired by three different works of art: a poem (the aforementioned poem by John Donne), a painting by the Norwegian painter Edvard Munch (Jealousy in the Garden) and an old French chanson about jealousy (Je ne l'ose dire) by the sixteenth-century French composer Pierre Certon. The music refers repeatedly to thischanson - sometimes through key notes from the melody that serve as the starting point for new, isolated themes and sometimes through quotations of the original version
Estimated dispatch 5-14 working days
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£59.99Conzensus (Brass Band - Score and Parts) - Van der Roost, Jan
This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept. The name, ConZEnSus, comes from a combination of the words, 'Concert Cyclus' (concert series) and 'zes' (Dutch for 'six'). This leads to a new word, which refers to 'consensus'. The general tenor of the cycle is thus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.Duration: 2:30
Estimated dispatch 7-14 working days
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£174.10Three Gentle Giants - Svein H. Giske
Three Gentle Giantswas commissioned by Grenland International Brass Festival as a test piece for the 2nd division in 2008.Three Gentle Giants. The three giants each have their own monologue which leads into a conversation. They gather recognition and respect from each others views as the dialogue evolves. Eventually they find a more nutual and singular expression to their conversation.The giants are old with a long life behind them. This can be heard through a slow, melancholic waltz. A waltz is dance commonly linked to festiveoccasions, such as weddings, but for the giants it holds much more significance. It gives room to think about people they have met, placesthey have been, and all that life has given them.Quietly it ends, more or less like it began. We hear echoes of the past, before it all fades out.The giants wander off into a new beginning.Svein H. Giske- January 2023 -In Memoriam Thorvald, Finn and Thor Louis
Estimated dispatch 5-14 working days
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£60.99
Conzensus - Jan Van der Roost
This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept.The name, ConZEnSus, comes from a combination of the words, 'Concert Cyclus' (concert series) and 'zes' (Dutch for 'six'). This leads to a new word, which refers to 'consensus'. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.
Estimated dispatch 5-14 working days
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£107.95Symphony in Two Movements (Brass Band - Score and Parts) - Gregson, Edward
This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£57.95Symphony in Two Movements (Brass Band - Score only) - Gregson, Edward
This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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