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£82.95
Euphonium Concerto - Joseph Horovitz
Estimated dispatch 5-14 working days
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£84.95Turbulence, Tide and Torque (Baritone Solo with Brass Band - Score and Parts) - Graham, Peter
Concerto for BaritoneTurbulence, Tide and Torque can be considered to be a companion piece to my 2008 Euphonium Concerto In League with Extraordinary Gentlemen, and indeed can be performed on Euphonium (vintage or medium bore instrument preferred). Whereas the gentlemen in question in the latter work were fictional (e.g. Sherlock Holmes and Phileas Fogg), the former pays tribute to three real life women who were very much true pioneers and heroines of their age.Turbulence: Harriet Quimby (b. 1875) was one of the world's best woman aviators, her significant and historic achievement being the first woman to fly across the English Channel. Sadly, in her lifetime very few people were aware of her 1912 accomplishment; potential press coverage was dominated by the sinking of The Titanic only two days before.Grace Darling (b. 1815) is a name much more familiar to the public today, and in her lifetime she was lauded as a national heroine. A humble lighthouse keeper's daughter from Northumberland, her participation in the rescue of survivors from the wrecked paddle-steamer Forfarshire is well documented (a museum dedicated to her achievements located in Bamburgh, the town of her birth). This movement, Tide, develops a main theme from my large scale work Harrison's Dream, reflecting on the souls lost in the disaster.The final movement Torque, opens with a sudden gear change such as might have been undertaken by Dorothy Levitt (b. 1882), the woman's world land speed record holder, in her Napier racing car. Levitt, who following her 1906 record-breaking achievement was described as the Fastest Girl on Earth, went on to write extensively about her experiences, encouraging females to take up motoring through her articles in The Graphic newpaper.Turbulence, Tide and Torque was commissioned by and is dedicated to Katrina Marzella as part of an Arts Council of England funded residency I was awarded with the Black Dyke Band in 2018.- Peter GrahamDuration: 15.00
Estimated dispatch 7-14 working days
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£58.00Fantasie Concertante (Score only) - Philip Wilby
This exciting new concerto is a welcome addition to the repertoire of french and tenor horn players alike. Like the 18th-Century Serenade form there are five movements, arranged symmetrically around a slow movement - Soliloquy - which separates movements entitled Burlesque (two) and Valse Caprice (three) respectively. The first and last movements share common material of a more symphonic stature, and the concerto ends with a brisk fugato. The solo horn is (in the band version) accompanied by a quintet of solo players (two cornets, euphonium, trombone, and tuba) who provide the lion's share of the counterpoint and contrast with the main body of musicians who provide musical punctuation in the more sonorous tutti sections. The first movement, Don Quixote's Dream, contains references to Cervantes' famous hero, the Spanish nature of his stories, and the ambling gait of his horseback adventures.
Estimated dispatch 5-7 working days
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£72.00Fantasie Concertante (Parts only) - Philip Wilby
This exciting new concerto is a welcome addition to the repertoire of french and tenor horn players alike. Like the 18th-Century Serenade form there are five movements, arranged symmetrically around a slow movement - Soliloquy - which separates movements entitled Burlesque (two) and Valse Caprice (three) respectively. The first and last movements share common material of a more symphonic stature, and the concerto ends with a brisk fugato. The solo horn is (in the band version) accompanied by a quintet of solo players (two cornets, euphonium, trombone, and tuba) who provide the lion's share of the counterpoint and contrast with the main body of musicians who provide musical punctuation in the more sonorous tutti sections. The first movement, Don Quixote's Dream, contains references to Cervantes' famous hero, the Spanish nature of his stories, and the ambling gait of his horseback adventures.
Estimated dispatch 5-7 working days
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£29.95Ballet for Band (Score Only)
Ballet for Band was written as the test-piece for the Championship section finals of the National Brass Band Championships, held at the Royal Albert Hall in October 1983.Although the work is not programmatic, within the space of ten minutes, the composer uses a form which might be considered to be the form of a ballet. Therefore there is a fanfare at the beginning which might be the overture, different characters appear, and scenes are quite clearly marked by, for instance, baritones or by muted trombone, although the listener is encouraged to use his own imagination.Thematically the work is tightly controlled, with the same material re-appearing in many different guises, as a flugel horn solo, as a waltz on the horns, and on the euphonium. Horovitz employs a rich harmonic pallet, but the work is most definitely rooted in a tonal language, with hints of Straussian richness later in the work.The work is notable for its middle section, in which the music gets slower and slower, providing a real test of control throughout the band.Ballet for Band was by no means Joseph Horovitz's first work for the medium: his fine "Concerto for Euphonium and Band" is frequently played, and he has also written a cantata entitled "Samson" for choir and band.
Estimated dispatch 7-14 working days
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£89.95Partita (Score and Parts)
Partita was written in 1989 to a commission from Eikanger/Bjrsvik Musikklag (Norway) who were European Champions at the time.There are three movements.1 The first movement is almost a miniature concerto for band. It opens with a relentless quaver passage in the basses, which builds until the whole band is involved. Horns and baritones are first to take centre-stage in close harmony and the euphoniums and basses follow them. These forces combine to introduce the cornets that have a 10-part fanfare to themselves before the trombones interrupt. The opening quaver figure returns, somewhat ominously, and, after the full band recalls previous material, brings the movement to a close.2. Starts with a cornet solo over a pulsating accompaniment after which the band builds to a noble tune on the trombones. The full band takes over and brings back the opening cornet tune with which the soloist, with the aid of a euphonium counter-melody, quietly ends the movement, leading directly into:3. A sparkling vivo, which opens with the fanfare-like figures throughout the band until a solo cornet, emerges with an acrobatic tune. The whole band takes this up until horns; baritones and trombones introduce an energetic second subject, which leads to a full band climax in the form of a jubilant chorale. This died away to reintroduce the opening fanfare against a new theme from the trombones, which eventually leads back to a recapitulation. We are then thrown headlong into a 12/8 presto, which hurtles to a coda, which recalls the opening themes.
Estimated dispatch 7-14 working days
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£44.95Partita (Score Only)
Partita was written in 1989 to a commission from Eikanger/Bjrsvik Musikklag (Norway) who were European Champions at the time.There are three movements.1 The first movement is almost a miniature concerto for band. It opens with a relentless quaver passage in the basses, which builds until the whole band is involved. Horns and baritones are first to take centre-stage in close harmony and the euphoniums and basses follow them. These forces combine to introduce the cornets that have a 10-part fanfare to themselves before the trombones interrupt. The opening quaver figure returns, somewhat ominously, and, after the full band recalls previous material, brings the movement to a close.2. Starts with a cornet solo over a pulsating accompaniment after which the band builds to a noble tune on the trombones. The full band takes over and brings back the opening cornet tune with which the soloist, with the aid of a euphonium counter-melody, quietly ends the movement, leading directly into:3. A sparkling vivo, which opens with the fanfare-like figures throughout the band until a solo cornet, emerges with an acrobatic tune. The whole band takes this up until horns; baritones and trombones introduce an energetic second subject, which leads to a full band climax in the form of a jubilant chorale. This died away to reintroduce the opening fanfare against a new theme from the trombones, which eventually leads back to a recapitulation. We are then thrown headlong into a 12/8 presto, which hurtles to a coda, which recalls the opening themes.
Estimated dispatch 7-14 working days
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£70.00
Episodes and Echoes - Peter Meechan
Episodes and Echoes is a concerto in three movements for tuba. The title of the work relates directly to the way the composer approached writing the piece.aAlthough the work is scored with piano and wind band accompaniments, Episodes and Echoes was originally written for tuba and brass band. I had several problems to overcome - the brass band contains 4 tubas, and 2 euphoniums, all of which could obscure the solo line, so I decided to write for the soloist in a manner that meant they were either playing alone, in episodes, or repeating/echoing phrases.aIn addition to this, the composer combined the characteristics of the tuba with other instruments: in the second movement the tuba is similar to a singer performing an aria and a recitative, and third movement a bass guitar.Episodes and Echoes was commissioned by, and dedicated to, Les Neish who premiered the work in 2005, accompanied by the Beaumaris Brass Band, conducted by Gwyn Evans.
Estimated dispatch 12-14 days
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£70.00
Origins - Peter Meechan
Origins is in three movements, with each movement having a different subject matter, all linked by the idea of origins: the first movement refers to musical origins; the second to the origins of life; and the final movement to the space exploration - the research of all origins. The first movement is based on a short motif, heard in the first three notes the soloist plays. These three notes cover the interval of a minor third (an interval that often plays a crucial role in my music) on which the whole concerto is built. The soloist and accompaniment interplay freely throughout the opening section, before an ostinato accompaniment appears - over which the soloist sounds a long legato melody. A short cadenza follows and a return to the opening material leads the movement to an end. The second movement, titled Harryas Song, is - as tradition dictates - a slow movement. Happy and reflective in nature, the main melody was written on the evening that my closest friend, Mark Bousie (a fine euphoniumist himself), and his wife Jayne, had their first child - Harry Bousie. It seemed only fitting that this song should be written for Harry in celebration. The final movement brings me back to a lifelong fascination with space, and in this particular movement, the Space Shuttle Discovery. Having completed 39 missions (including flying the Hubble telescope in to orbit), and spent a total of 365 days in space, SS Discovery made its final voyage in 2011 and was taken to the Smithsonian in Washington D.C. in April 2012. This final movement, titled Discovery, pays tribute to the great shuttle whose missions inspired millions across the generations. Origins was commissioned by Marco Schneider, Adrian Schneider and the Dunshan Symphonic Wind Orchestra, Beijing, China.
Estimated dispatch 12-14 days
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£49.95Andante and Rondo - and Robert Childs
Capuzzi was an Italian violinist and composer who worked in Venice in the 1780s. His Concerto for Double Bass is charming and sports simple lines, crisp rhythms, and elegance of form. As a result, it is a great favourite. An ideal addition to recital and exam programmes, the present version of the second and third movements is perfect for young players and professionals alike, and lls a substantial hole in the euphonium repertoire of eighteenth century classics.
Estimated dispatch 5-7 working days
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