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£44.95
CHRISTUS VICTOR (Brass Band Set) - Kenneth Downie
This is a glorious selection of music to celebrate the supreme victory of Jesus Christ. The predominant theme of 'Crown Him!' comes from the Thomas Kelly hymn 'Look, ye saints! The sight is glorious' which are associated with Henry Smart's tune 'Regent Square'. Also featured are Andre Crouch's song 'Soon and very soon' as well as Dave Bilborough's 'All hail the lamb'. In the final pages of the score, all three tunes come together in a statement of affirmation.
Estimated dispatch 7-14 working days
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£59.95
LORD IS KING, The (Brass Band Set) - Ray Steadman-Allen
Ray Steadman-Allen was for many years the driving force in Salvation Army music. His publication list of both brass and vocal works can be measured literally by the hundred. 'The Lord is King' is arguably his crowning achievement of over twenty major works for brass band. Although described as a suite, the work is more symphonic in conception and scale as well as being formidable to perform. The work is based on the Welsh hymn tune 'Llangollen' to which the hymn 'The Lord is King, I own His power' are associated. The three movements derive inspiration from the lines 'My joy, my toil, my craftman's skill, all have their place, and serve His will' found in verse five of the hymn.
Estimated dispatch 7-14 working days
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£59.95
ON RATCLIFF HIGHWAY (Brass Band Set) - Ray Steadman-Allen
Written for the centenary of Salvation Army bands in 1978, On Ratcliff Highway was premiered by The International Staff Band (and simultaneously by Melbourne Staff Band in another venue). It was inspired by a sketch on the front page of a copy of The War Cry from 1886 which depicted the Whitechapel Salvation Army band marching through the notorious highway, surrounded by crowds, with the masts of ships seen beyond the East London slums.
Estimated dispatch 7-14 working days
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£88.00Bass Trombone Concerto - Christopher Brubeck
Grammy-nominated composer Chris Brubeck continues to distinguish himself as an innovative performer and composer who is clearly tuned into the pulse of contemporary music. Respected music critic for The Chicago Tribune, John von Rhein called Chris: "a composer with a real flair for lyrical melody--a 21st Century Lenny Bernstein." In addition to creating an impressive body of work, including several band pieces, chamber pieces, 3 concertos for trombone, a trombone quartet, and several concertos for stringed instruments, Chris maintains a demanding touring and recording schedule playing bass and trombone with his two groups: the Brubeck Brothers Quartet, with brother Dan on drums, Chuck Lamb on piano and Mike DeMicco on guitar (www.brubeckbrothers.com); and Triple Play, an acoustic jazz-funk-blues-Americana trio with Joel Brown on guitar and Peter Madcat Ruth on harmonica and Chris on bass, trombone and piano (www.chrisbrubeckstripleplay.com.) Additionally, Chris performs as a soloist playing his trombone concertos with orchestras and has served as Artist in Residence with orchestras and colleges in America, coaching, lecturing, and performing with students and faculty. Once a year he tours England with the group "Brubecks play Brubeck" along with brothers Darius (on piano) and Dan as well as British saxophonist Dave O'Higgins. Chris had been a long-standing member of the Dave Brubeck Quartet, writing arrangements and touring and recording with his father's group for over 20 years.
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£40.00Tientos y Danzas - Gareth Wood
Tientos y Danzas is a suite in four movements and was written especially for Superbrass. It is not literally descriptive, but conjures up a breezy, festive atmosphere. The title Tientos stems from the fact that a lot of the brass writing is reminiscent of virtuosic Renaissance keyboard finger-work (a "Tiento" is the Spanish equivalent of a toccata). Only later did we discover that the word is also the name of a style of flamenco dancing, which links nicely with Danzas (dances). The first movement is an extended fanfare, with military rhythms on the tenor drums and dramatic trumpet and horn calls. Next comes a witty waltz featuring the French horn. The music builds in complexity; the main horn theme returns before a playful coda. The following Andante makes effective use of the mutes, both in the haunting opening "pyramid" chords, and in the elaborate, recurrent trumpet duets; the two trumpets have the last word. After a couple of false starts, the finale sets off at a cracking pace, with dislocated accents creating an irregular rhythmic pulse. There are opportunities for every instrument to shine (metaphorically) and the music gets even faster for a thrilling conclusion.
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£30.00A Million Love Songs - Gary Barlow
Made famous by the boy band 'Take That', this fantastic new angle on the song from Lucy Pankhurst, creatively features the flugel and tenor horn section with full support from the accompanying band.Take That's Gary Barlow wrote 'A Million Love Songs' when he was 15. He also recorded a rough demo of the track, and was one of the songs he gave to music manager Nigel Martin-Smith on a cassette tape as part of his audition to join a boy-band.In his autobiography A Better Me, Gary revealed that Martin-Smith was so impressed by the tape, that he didn't realise it was Gary singing. As legend has it, the conversation went like this:Martin-Smith: "This tape, who has written the songs?"Barlow: "Me"Martin-Smith: "Who wrote the words, then?"Barlow: "Me. And the music and the backing track."Martin-Smith: "Wow, you'd better come back and see me tomorrow."The ballad became one of the group's most popular songs, and is often voted among the greatest love songs of all time. It peaked at No. 7 in the UK charts, and remains a firm favourite, not just for its sentiment, but for the beautiful melody Barlow created.Lucy's arrangement for brass band brings a whole new dynamic to the music and offers the flugelhorn and tenor horns a golden opportunity to shine.
In Stock: Estimated dispatch 3-5 working days
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£35.00A Suffolk Prelude - Andrew Duncan
Written for the Ipswich & Norwich Co-Op Band, A Suffolk Prelude is based around five traditional tunes from Suffolk:'Nutting Time','Blackberry Fold','Cupid's Garden','A Seaman's Life''The Bold Richard'The piece begins on the percussion and timpani alone leading through a crescendo into the first statement of the fanfare which is derived from a motif from the tune 'Nutting Time'. This leads into a playing of the 'Nutting Time' tune which is then developed as the tune is passed around the band.'Nutting Time' is a jolly lighthearted tune about a 'fair maid' who meets a handsome young farmer called 'Johnny' when out gathering nuts in the wood. After a pause on the tubular bells the slow tune 'Blackberry Fold' is presented as a solo for Flugel Horn, then as a full band version.'Blackberry Fold' is a touching song about a Suffolk squire who gets married well below his station to a beautiful milkmaid, simply because he loves her! They live happily ever after.The next tune to be heard is the juanty 'Cupid's Garden' played firstly as a solo on the Euphonium, and again this is about the subject of love. This song is sung from a sailors prospective and he tells how he met a lovely maiden and has promised to marry her when he returns from duty at sea.The trombones then play the noble tune 'A Seaman's Life'. This tune seems to serve as a warning to young girls about the fickle nature and the total unsuitability of marrying a sailor! 'Oh a seaman's life is a merry merry life, they'll rob young girls of their heart's delight, they will leave them behind for to sail one morn, but they never know when they'll return'. Despite this it is a fine tune!The last tune featured is 'The Bold Richard' which is played by all the bass instruments in the band. This is a song telling how the Royal Navy friggate 'The Bold Richard' went to battle against a French friggate destroying her and taking her crew as prisoners.Suffolk Prelude goes on to feature a slow version of the tune 'A Seaman's Life' played alongside a fast version of the tune 'Cupid's Garden'. The opening fanfare then returns leading into a final coda section.
In Stock: Estimated dispatch 3-5 working days
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£75.00As Above, So Below - Jay Capperauld
An original composition for brass band and brass quintet by Jay Capperauld was commissioned by John Wallace and The Wallace Collection with the support of the PRS Foundation's Beyond Borders. This major work enjoyed its world premiere at The Cumnock Tryst on 30 September 2017 at Cumnock Old Church, performed by The Wallace Collection and Dalmellington Band, conducted by Martyn Brabbins.If you would like to perform this work, please don't hesitate considering The Wallace Collection to provide the brass quintet elements - if you would like to discuss potential performances, please contact us on [email protected] NotesBased on the Hermetic maxim "As Above, So Below", the phrase comes from the cryptic text of The Emerald Tablet, which was purportedly written by a mysterious character who is thought of as an amalgamation of Greek and Egyptian Gods, Hermes Trismegistus. The text first appears in Arabic between the 6th and 8th Centuries and is intended to outline the primitive and hidden sources that constitute the basis of all matter in the universe. The phrase "As Above, So Below" implies an essential "oneness" of all matter and a correlation between the physical elements and supernatural entities that make up our surroundings. The philosophies expressed within The Emerald Tablet have become a founding principle of Alchemy, Occultism, Witchcraft, Theosophy and various other ancient gnostic systems of belief, and this work attempts to explore these forms of so-called "secret knowledge" in a ritualistic trance-like Adagio steeped in the esoteric.The Brass Band is placed at the centre of the stage while the solo Brass Quintet are spread antiphonally around the concert hall and are placed above both the Brass Band and the audience in an attempt to create a direct dialogue between the Above and the Below. Therefore, the piece endeavours to explore the meaning behind the text of The Emerald Tablet as well as the phrase 'As Above, So Below' in a music context while giving particular attention to the 'SOLVE' (Latin for 'Separate' which correlates to the Above) and 'COAGLUA' (Latin for 'Join Together' which relates to the Below) that is depicted in the image of the Baphomet by the French occultist author, Eliphas Levi, which is a visual representation of the phrase 'As Above, So Below'.Additional Note of InterestIt was not until the work was complete that the role of the main melody became clear when an unexpected and inadvertent correlation between this melody and that of the Latin Dies Irae presented itself. The plainchant nature of As Above, So Below's melody became a defining feature of the piece and when compared to the melody of the Dies Irae (a similar melody reminiscent of that contained within As Above, So Below), some interesting and unsettling implications unveiled themselves.The findings of a comparison can be interpreted as follows:Both melodies adhere naturally to the plainchant idiom, which in itself strongly relates to a supernatural (or quasi-religious) element in both cases.Both melodies originate in the key of D; the Dies Irae resides in the Dorian Mode on D while the As Above, So Below melody inhabits the D Octatonic Scale.Both melodies can be divided into three distinct phrases, although the melody to As Above, So Below can be divided into three phrases in a number of ambiguous ways.The most striking and unnerving connection is that, by pure chance, the Latin text to the Dies Irae fits perfectly under both melodies giving an entirely specific context to how the melodies are perceived.By understanding the As Above, So Below melody as an alternative to that of the Dies Irae and by interpreting it in the same context, the connotations of the Dies Irae's otherworldliness, and the suggestion of a dialogue with the supernatural and death adds a richer dimension to the As Above, So Below melody which in turn solidifies the esoteric concept of this work.In conclusion, this unanticipated and purely accidental relationship between both melodies is worthy of note more so from an emotional and contextual perspective rather than from any analytical evaluation concerning the music itself - it is the circumstance of the so-called "secret knowledge" that has presented itself within the inner workings of As Above, So Below.
In Stock: Estimated dispatch 3-5 working days
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£25.00Autumn Bacchanale (from The Seasons) - Alexander Glazunov
A lively, joyous item, ideal as a light interlude in any concert and especially appropriate for late season/Christmas themed events with its jaunty, positive sounds. Sue Hopkins has shown great creativity in crafting this arrangement of Glazunov's 'Autumn' movement, a bacchanale from his ballet The Seasons, hence its fondly referenced title of Autumn Bacchanale.Alexander Glazunov (1865 - 1936) was a Russian composer, music teacher and conductor. He was a child prodigy and was taught privately byRimsky-Korsakov, who said Glazunov's musical progress did not increase day by day but hour by hour. He began composing at age eleven and wrote his first symphony at age 16 in 1881 and it was premiered one year later.His ballet The Seasonswas first performed by the Imperial Ballet in St Petersburg on 20 February 1900 and was choreographed by Marius Petipa.It was written in one act and four scenes, and this piece represents the moment when all The Seasons take part in a glorious dance while leaves from autumn trees rain upon their merriment.
In Stock: Estimated dispatch 3-5 working days
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£30.00Clair de Lune - Claude Debussy
Andrew Duncan has arranged this Debussy classic to create a delicate and lyrical item, offering the perfect peaceful interlude for a concert programme or own choice entertainment selection. Andrew's creative scoring brings the familiar style of Debussy to life through his beautiful setting of this ever popular melody.Look and Listen (courtesy of Brass Band Fellows):
In Stock: Estimated dispatch 3-5 working days