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£37.95
Terra Australis (Score Only)
A descriptive work in one continuous movementTerra Australis portrays the discovery of Australia, the wonders of the land, the promise of new life and the nation's anthem, closing with a massive grand chorale and an engergetic conclusion.
Estimated dispatch 7-14 working days
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£8.50CHORALE & FANFARE (score) - Cresswell, Tony
Also see CMT1328: Brook Bottom, CMT3619: Well Blessing & CMT3832: Tidza Morris Dance. Parts also included for orchestral brass.
In Stock: Estimated dispatch 1-3 working days
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£27.50CHORALE & FANFARE (score & parts) - Cresswell, Tony
Also see CMT1328: Brook Bottom, CMT3619: Well Blessing & CMT3832: Tidza Morris Dance. Parts also included for orchestral brass.
In Stock: Estimated dispatch 1-3 working days
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£94.99Chorale Variations (Brass Band - Score and Parts) - De Haan, Jan
On a Theme in Ancient StyleChorale Variations comprises six variations on an original theme in Renaissance style. Written as a test piece for the renowned contest 'Gouden Spiker Festival' in Friesland (The Netherlands), it is a challenging concert or contest piece, presenting attractive and demanding parts for all sections.
Estimated dispatch 7-14 working days
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£59.99Chorale and Canzone (Brass Band - Score and Parts) - De Haan, Jan
The words and lyrics of the Christmas Carol From Highest Heaven I Come To Tell were written by the great Martin Luther (1483-1546) and can be found in The Hymns of Martin Luther. Martin Luther expressed radical views which began the reformation movement. His followers protested at the treatment given to Martin Luther, the event from which the term 'Protestant' was derived. It was first published in Joseph Klug's Gesangsbuch in around 1535. Add a majestic Baroque feel to any concert with this simple yet effective arrangement.Duration: 2:45
Estimated dispatch 7-14 working days
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£59.99Canterbury Chorale (Brass Band - Score and Parts) - Van der Roost, Jan
This quiet piece with its broad tones was originally written for brass band on request of Robert Leveugle, chairman of the composer's own band: Brass Band Midden Brabant (Belgium). The direct cause was a visit to the beautiful cathedral of the English city Canterbury, in which so many fine compositions sounded throughout the centuries. Later on, Jan Van der Roost rescored this piece for symphonic wind band, exploring the full richness of colours of this formation. Besides solo phrases for several instruments, there are some massive tutti passages making the wind orchestra sound like a majestic organ. By the way: an "ad libitum" organ part adds an extra richness, colour and power to this piece, making it sound even more broad and grand.Duration: 6:30
Estimated dispatch 7-14 working days
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£14.99Seven Chorale Arrangements (Score)
Includes:Ein Feste Burg (Luther & Hassler arr. Jan de Haan)An Irish Hymn Tune (arr. Herman Oldenstijl)Richmond (arr. Jan de Haan)See, the Conquering Hero Comes (Handel arr. Jan de Haan)Great is Thy Faithfulness (arr. Herman Oldenstijl)Ach wie Fluchtig, Ach wie Nichtig (arr. Jacob de Haan)Picardy Hymne (arr. Jan de Haan)
Estimated dispatch 7-14 working days
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£53.50Chorale Varie (Brass Band - Score and Parts) - De Haan, Jan
Duration: 3.00
Estimated dispatch 7-14 working days
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£12.00Edward Gregson: The World Rejoicing
DescriptionComposer's NoteIn searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Cruger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days
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£35.00The Cistercians
DescriptionThe Cistercianswas written during December 2003 and January 2004 as an entry for Morecambe Band's Centenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band's 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.The music was inspired by visits to three of Britain's great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex administration and hierarchies.In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style "tenor" - a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section - our medieval abbey has become a bustling trade centre - before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another "tenor" derived from the opening motifs. A short development section, including the folk dance "hocketing" round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.Performance Notes:Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.Playable by 2nd section upwards; to view a sample PDF file of the score click here.
Estimated dispatch 7-14 working days
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