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£109.99
The Power of the Megatsunami Brass Band (Score & Parts)
The word 'tsunami' is of Japanese origin. When you look it up in a dictionary, you will find that it means 'a great sea wave produced by submarine earth movement or volcanic eruption'. A megatsunami is the superlative of this awesome expression of power that nature can create, and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred, but since then we have become all too familiar with the disastrous consequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions of many countries for miles around. The tsunami took the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami, such as the island of La Palma, one of the Canary Islands. This island is based on oceanic crust at a fracture zone and as such is one of nature's time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma, the tidal wave will move in the direction of South America, where it may reach 50 km inland, destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air, the music creating an oppressive atmosphere of impending disaster. Themes are interrupted, broken off suddenly, followed by silence, suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake, and the megatsunami is a fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature's force has spent itself, resignation sets in and the composition ends with a majestic ode to nature. 10:30
Estimated dispatch 7-14 working days
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£104.99
Theme Park Fun! Brass Band (Score & Parts)
In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit, you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and (moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set, on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day full of fun and pleasure awaits! You and the other visitors will be confronted with all the rides, attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! A parade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun, is the Haunted House. Here visitors will be challenged to visit a house full of ghosts, creepy figures and other ominous things. The clock strikes twelve, there is no turning back. Ghosts are whispering, yelling, screaming... Fortunately it is almost one oclock, so we can leave this creepy place quickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth, you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have a fantastic view over the park, but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions, it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting, you will discover fable figures, talking animals and colorful designs. Such a beauty and tranquility. Having had this experience, we are ready again for the big rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bump against someone else. In this tough ride you can prove yourself as a real driver, or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest, fastest and scariest ride in the park ... we should definitely do the Roller Coaster! All together in the train, the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the top and the train will be plunged down the first drop! Loops, corkscrews and other spectacular coaster elements will follow... Before you know it, the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [with animation]Unfortunately everything comes to an end. This day in the theme park is over, but we have a lot new experiences to talk about! The memories of all the funny and spectacular rides will come up when we walk through the park to the exit. Just one look over the shoulder, the amusement park figures are waving at us. Hopefully we will come back again soon! 14:30
Estimated dispatch 7-14 working days
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£44.95Patterns (Brass Band - Score and Parts) - Gregson, Edward
Building musical paragraphs using short, irregular rhythmical patterns became a favourite Gregson formula in the early 1970s. Patterns is the clearest and most disciplined example. By limiting himself to a single musical motif, heard at the outset on trombones, Gregson offers a true test of technique and musicianship in a concise three part structure. The opening is another Gregson prelude with alternating patterns of 3s, 4s, 5s and 7s that are bonded by a constant quaver pulse. The music here possesses a neo-classical, pristine quality. In the central episode, the same triadic figure is transformed into a lilting barcarolle-like dialogue beginning on solo cornet and horn. When the whole band becomes involved, the trombones add a moment of bi-tonal ambiguity, which sets in motion an exuberant Latin dance and final flourish.Patterns was commissioned by the Butlins Youth Brass Band Championships for the 1974 competition at the Royal Albert Hall.Duration: 5.00
Estimated dispatch 7-14 working days
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£44.95Partita (Brass Band - Score and Parts) - Gregson, Edward
Partita dates from 1971, when it was commissioned by the Redbridge Youth Band. The musical thread that runs through the work is the 13th century plainsong Dies Irae from the Requiem Mass. This gives the work a rather sombre tone which is audible right from the start of its first movement Intrada. The initial hammer-like chords of the opening and conclusion are only interrupted momentarily by a more lyrical modal tune. Even here, on its repetition, it is surrounded by more insistent textural patterns.The second movement, Chorale and Variations, uses the Dies Irae as the basis for an extended melody in the manner of a baroque sarabande. The five variations that follow are varied in texture, tempi, and dynamics. The final March is more optimistic in mood and presents as its main idea a rather jaunty theme which gets developed throughout the movement. However, the ominous presence of the Dies Irae has the last say with a final statement to round off the work.Duration: 11.00
Estimated dispatch 7-14 working days
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£22.50
Partita (Brass Band - Score only) - Gregson, Edward
Partita dates from 1971, when it was commissioned by the Redbridge Youth Band. The musical thread that runs through the work is the 13th century plainsong Dies Irae from the Requiem Mass. This gives the work a rather sombre tone which is audible right from the start of its first movement Intrada. The initial hammer-like chords of the opening and conclusion are only interrupted momentarily by a more lyrical modal tune. Even here, on its repetition, it is surrounded by more insistent textural patterns.The second movement, Chorale and Variations, uses the Dies Irae as the basis for an extended melody in the manner of a baroque sarabande. The five variations that follow are varied in texture, tempi, and dynamics. The final March is more optimistic in mood and presents as its main idea a rather jaunty theme which gets developed throughout the movement. However, the ominous presence of the Dies Irae has the last say with a final statement to round off the work.Duration: 11.00
Estimated dispatch 7-14 working days
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£59.95The Plantagenets (Brass Band - Score and Parts) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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£29.95
The Plantagenets (Brass Band - Score only) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£82.95Benvenuto Cellini (Brass Band - Score and Parts) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£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
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