Results
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£49.95Cornet Concerto (Brass Band - Score only) - Gregson, Edward
The Cornet Concerto was commissioned by Black Dyke Band for their principal cornet, Richard Marshall, and was premiered at the European Brass Band Festival's Gala Concert in Lille, France, on 30 April 2016 by the same performers, conducted by Nicholas Childs.It is challenging work, both musically and technically, and one that exploits the wide range of the instrument's capabilities. Lasting for some 17 minutes, it is in the usual three movements: Sonata, Intermezzo (subtitled 'Of More Distant Memories') and Rondo.The first movement presents four main ideas:Cadenzas (which recur throughout the movement, and indeed appear at the end of the work); a fast and rhythmically energetic motive; Bugle calls (echoing the ancestor of the cornet), and a lyrical and expressive melody, full of yearning. These four ideas are juxtaposed within the broad shape of a Sonata form structure, although here the word 'Sonata' is used in its original meaning of 'sounding together'.The second movement is music in search of a theme, which eventually comes at the end of the movement. In the middle section there are brief quotations, albeit mostly hidden, from three cornet solos written by the Swedish/American composer Erik Leidzen for the Salvation Army in the 1940s and 50s; these are solos I loved as a teenager, and my use of them is by way of tribute, not imitation - a sort of memory bank, just as the main theme of the movement, when it eventually comes, is reminiscent of the tune from my earlier work for brass band, 'Of Distant Memories'.The final Rondo, the shortest of the three movements, is a lively and 'fleet-of foot' Scherzo, its main theme full of cascading arpeggios, but with a contrasting lyrical second theme intertwined in the structure. There is much interplay between soloist and band in the development of the music, but eventually a brief reprise of the opening cadenzas leads to an exciting and climactic coda.Duration: 17.00
Estimated dispatch 7-14 working days
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£49.95ARROWS ABLAZE (Brass Band) - Richards, Goff
ARROWS ABLAZE (Goff Richards) was commissioned by the Band of the Ancient Order of Foresters. The Order (founded in 1834) is a strong charitable institution whose founder members recognised their duty to help their fellow men who fell into need "as they walked through the forests of life". It had an early interest in Archery which has continued throughout the ages (It is Performance Partner for the Team GB Archery team at the 2016 Olympics).Foresters Brass Band was formed in 1959 and is now known as Foresters Brass 2000 and performance was originally restricted to Foresters Brass.
Estimated dispatch 7-14 working days
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£30.00Here and There - Martyn Brabbins
An original composition for brass band by Martyn Brabbins.This work was created by Brabbins early in his career and combines his creativity and passion for the sounds of brass bands . It is one of two compositions from that era (the other being There and Back) which have now been given a new lease of life and made available to the general public through The Music Company (UK) Ltd.With great chords, sounds and unexpected bursts of energy, the work lasts just 1 48, making it ideal to be positioned as an attention grabbing opener or a contrasting interlude to greatly enhance the interest of a concert.The brass band version was originally premiered by The Dalmellington Band at The Cumnock Tryst 2017, and the Symphonic Wind Orchestra adaptation was performed by The BBC Scottish Symphony Orchestra in 2019.Available here for brass band. Also available for Symphonic Wind Orchestra.**Brass Band version for purchase/Symphonic Wind Orchestra version for hire only.Listen InFind out more about Martyn Brabbins, listen in to the fascinating podcast presented as part of the British Bandsman's On The Record series:Apple podcasts:apple.co/3ufSsfXSpotify:spoti.fi/3duqoj5Podbean:bit.ly/3k3B75h
In Stock: Estimated dispatch 3-5 working days
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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.
In Stock: Estimated dispatch 3-5 working days
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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.
In Stock: Estimated dispatch 3-5 working days
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£30.00The St Louis Blues - Sandy Coffin, W C Handy
Two-Step MarchCommissioned by John Wallace, this arrangement of The St Louis Blues 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 flutter-tonguing and use of muting, the counter-melody in soprano cornet, and the wilder and yet wilder nature of each repetition of the Chorus.Look and Listen: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.
In Stock: Estimated dispatch 3-5 working days
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£29.95A Little Prayer - Evelyn Glennie
Originally composed for solo marimba, this popular version of A Little Prayer was made in 1998 following Evelyn Glennie's collaboration with Black Dyke Band during the recording of their Grammy nominated Reflected in Brass CD. Robert Childs, then principal euphonium with Black Dyke, requested Evelyn's permission to make the arrangement for his son, David. The composer obliged, and Robert presented the score and parts to his son as a seventeenth birthday present. Evelyn Glennie revealed: "When I wrote this chorale for marimba, it expressed my spiritual feelings and displayed a pleasantly relaxed dimension of the instrument. Over the years my exposure to brass bands has filled me with wonder; their musical diversity is considerable. I had no hesitation in giving A Little Prayer to Robert Childs to bring this little melody to life." Having composed the work when she was only 13, Evelyn continued: "As a child I would never have believed that such a short and simple piece of music, would come to grow this much. A little Prayerserves to prove that one should always bet their chips on what they believe in, for nine out of ten it will be worth it!" After twenty years of exclusivity, Prima Vista Musikk is proud to make this beautiful arrangement available to all. A Little Prayer provides the perfect reflective interlude for concert or devotional use by euphonium soloists and bands of all abilities.
Estimated dispatch 5-14 working days
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£96.00
Speedy Dreams - Jerker Johansson
Speedy Dreams was premiered by Goteborg Wind Orchestra in 2013 with Fredrik Duvling as snare drum soloist. The composer Jerker Johansson is a percussionist himself, so through the years he has spent lots of time practising the snare drum. Theinspiration to the composition came to him in a dream, which was about yet another dream:On the evening of Christmas Eve a small child is trying to go to sleep. It is not so easy. Earlier in the day the child has got a small drum as aChristmas present. So instead of sleeping the child is fantasising about the new toy drum and how exciting it will be to learn how to play it.
Estimated dispatch 5-14 working days
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£17.50The Mansions of Glory (Score Only)
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution.Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Amid the breathless silence of the audience, she repeated: 'My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.' This was all. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God." 1. My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.2. I love thee because thou hast first lovd me,And purchased my pardon on Calvary's tree;I love thee for wearing the thorns on thy brow,If ever I loved thee, my Jesus, 'tis now.3. I will love thee in life, I will love thee in death, And praise thee as long as thou lendest me breath; And say, when the death-dew lies cold on my brow; If ever I loved thee, my Jesus, 'tis now.4. In mansions of Glory and endless delight,I'll ever adore thee and dwell in thy sight; I'll sing with the glittering crown on my brow: If ever I loved thee, my Jesus, 'tis now. William Ralph Featherstone
Estimated dispatch 7-14 working days
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£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
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