Results
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£87.95Masquerade (Score and Parts)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
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£44.95Masquerade (Score Only)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
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£50.90Pulsar (Brass Band - Score and Parts)
A Pulsar is a highly magnetised, rotating neutron star or white dwarf that emits a beam of electromagnetic radiation. A great opener from the pen of Alan Fernie
Estimated dispatch 7-14 working days
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£64.95South Loop (on the CTA)
Tom Davoren composed South Loop in 2015 following an annual visit to the city of Chicago, in the Midwest region of the United States of America. It takes its name from a section of the "L", the famous elevated railway which is the
Estimated dispatch 7-14 working days
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£32.50Vienna Nights (Score Only)
The City of Vienna stands at one of the historic crossroads of the world, linking east and west and embracing artistic influences from all sides. In the 250th anniversary year of Mozart's birth, this fantasy on Mozart's celebrated Piano Sonata in A (K331), has been composed true to the form and content of the original, but also to the underlying substance of the conception.One of Mozart's distinguishing features, and one that links him to later music by Beethoven, Schubert, Mahler and Schoenberg, is the breadth of his musical vision. His music links intellectual rigour with ecstatic utterance and darker preoccupations. It is, perhaps, this shadow-laden side of his musical nature which gives his work a profundity often absent in the work of his contemporaries. Admirers of his Requiem Mass or the Statue music in Don Giovanni will recognise that it is this extra sense of reality which makes Mozart so relevant to the modern age, and where he may link hands with the other great Viennese thinkers such as Berg, Webern and Adorno.The composer follows the three movement plan of the Sonata closely. The original begins with a Theme and Variations which is freely quoted. His Minuet is mirrored in the Recitative and Notturno, where each section of the band lays down a metaphoric rose to his memory. Famously, the sonata ends in populistic style with a Turkish Rondo. Ever since the Hapsburg-Ottoman Wars, which came to an end in the seventeenth century, Viennese composers have included Turkish elements in their music, not least in the use of certain percussion instruments. Vienna Nights is thusly a homage.It celebrates the world's greatest composer, but also the city which fostered his work. Here, in your imagination, you might easily conjure up a caf table near the Opera House, where Mozart, Mahler and Sigmund Freud, observed by us all from a discreet distance, may meet as old friends.
Estimated dispatch 7-14 working days
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£82.95Vivat! (Score and Parts)
VIVAT! was commissioned by Kapitol for the 2012 National Championship of Great Britain first section final as a celebration of the Queen's Diamond Jubilee. The work is split into three contrasting sections that run continuously, with music derived from elements of Parry's coronation anthem I Was Glad. In Memoriam evokes the noble but gentle personality of the Queen's father, George VI. Opening with an atmospheric baritone solo (and later featuring solo horn, flugel, euphonium & solo cornet), the music explores themes of grief, sentimentality and hope. Coronation, a fanfare and subsequent theme, is grandiose in style capturing the spirit and excitement of British pomp and ceremony.The closing Jubilate is a celebration of life and family values, Vivat being the Latin for life or long live. The music passes through moments of tension, virtuosity, humour and jubilance before a finale constructed from connected musical fragments drawn from throughout the work, forming (for the first time) Parry's majestic I was Glad theme.
Estimated dispatch 7-14 working days
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£100.00Terrible Symphony - Haakon Esplo
Let us present "Terrible Symphony" - the perfect piece for beginner or junior bands!This fun composition gives young musicians the opportunity to have a great time while driving the conductor crazy. The piece includes well-known themes from great symphonies, along with new music, and not least, lots of silliness and fun. All musicians can join in and come up with more pranks and humorous elements. The audience will laugh out loud and enjoy this crazy and entertaining, yet terrible symphony.Make your concert an unforgettable experience with "Terrible Symphony"!In the score, you will find instructions and suggestions for the conductor as the musicians become increasingly impossible.
Estimated dispatch 5-14 working days
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£109.10Kanskje kommer Kongen - Øystein Dolmen
"Kanskje kommer Kongen" ("Perhaps the King is Coming") is yet another example of Knutsen and Ludvigsen's creativity and imagination.The arrangement begins with a short fanfare in the introduction. From letter B, the melody is carried by horn and trombone with a majestic character.Ensure good precision in the accompaniment. From letter C, the style is Latin-inspired, resembling Samba. Alternative percussion solutions are possible here.From letter D, there is a pizzicato effect in 8th-notes, with sonorous melodic lines. The style becomes majestic and elevated again from letter E,then returns to the Latin style from letter F until the end.Reid Gilje
Estimated dispatch 5-14 working days
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£105.90Himlen i min famn - Carola Häggkvist
"Heaven in My Arms" is a beautiful melody by Carola Haggkvist with lyrics by Erik Hillestad.This version is without vocal soloist so the melody is spread into many parts throughout the arrangement.To the conductor:Strive for good flow and phrasing. Feel free to be a bit creative with the phrasing. It invites for two-bar phrases in the melody, but perhaps 2/2/4 could also work nicely.Balance is very important. Often there is both melody and obligato/countermelody in addition to harmonic elements. Let each of them have their own layer in the balance.Staccato effects in cornets and marimba are intended as pizzicato effects and must be phrased. Not too static.The tutti section at 72 can be energetic with intense lines. Maybe a little piu mosso as well. Think big and orchestral with good resonance and timbre.- Reid Gilje -
Estimated dispatch 5-14 working days
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£113.00Me and Mrs. Jones - Kenneth Gamble
Me and Mrs. Jones was written by Kenny Gamble, Leon Huff and Cary Gilbert in 1972, and was first recorded by Billy Paul on the album 360 Degrees of Billy Paul. The song is about a man who has an affair with Mrs. Jones, and how the two secretly meet every day in the same cafe, even though they may know it's not quite right: "We got a thing going on/we both know that it's wrong/but it's much too strong/to let it go now." Paul has stated that he was sure the song was going to be a hit even before it was released, as "it's a song everyone can relate to", but already from the start the lyrics were considered somewhat controversial and the song were banned from several radio stations. Nevertheless, it became one of the best-selling singles of 1972 and Paul received a Grammy for Best Male R&B Vocal Performance.Well known is also Michael Buble's version of the song, released on the album Call Me Irresponsible in 2007. It is his version that has been the inspiration for this arrangement, which brings out even more of the jazz elements Buble has found in the song. The arrangement is quite demanding for the ensemble, and requires great rhythmic precision in particular.
Estimated dispatch 5-14 working days
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