Results
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£44.95Hyperlink (Brass Band - Score only) - Graham, Peter
Hyperlink was commissioned by the National Youth Brass Band of Great Britain (funded by Arts Council England and the Department for Education) for its 70th Anniversary Year. Since the anniversary coincided with other significant celebrations in 2022 (including the Royal Albert Hall/Ralph Vaughan Williams 150th and the Platinum Jubilee of Elizabeth II) it was requested that these also be recognised in some way.Where better to begin this challenging brief but with a computer search for the NYBBGB founder Dr Denis Wright (coincidently born in Kensington, home of the RAH). The subsequent rabbit warren of hyperlinks led me to structure the work through a series of associations:Movement I - The Voice of Jupiter. Alongside the discovery that Denis Wright had been a church organist was the realisation that while the RAH has hosted thousands of musical events the fabric of the building actually incorporates a musical instrument, the famous Henry Wills organ (aka The Voice of Jupiter). Organ and J S Bach are synonymous (e.g. Toccata in D min) and so both become fundamental to the content of the movement. An opening 7 note quote from the Toccata leads to a mammoth sound cluster, as if every note on the huge RAH organ is sustained. The material which follows is based upon the notes BACH (in German notation). The notes are manipulated in various ways in a 12 tone matrix; reversed, inverted and so on. Other techniques employed in the movement are ones of which Bach was master, including ground bass and fugue.Movement II - Remember Me. The lives of Salvationist composer Ray Steadman-Allen (born 1922) and Ralph Vaughan Williams are remembered here, with RSA in musical notation and fragments of RVWs famous Tuba Concerto providing the source material. While writing the movement my father passed away and to close his funeral service the family chose the uplifting Robert Lowry hymn They'll sing a welcome home. It seemed fitting to conclude the movement with a reflective setting of the chorus, the repeated phrase 'Welcome, welcome home' eventually disappearing into the ether.Movement III - Vivat. The finale takes the form of a short fantasy upon Hubert Parry's marvellous coronation anthem I Was Glad, truly a celebratory note with which to conclude. The first performance of Hyperlink was given by the NYBBGB conducted by Martyn Brabbins at the Royal College of Music, London on August 6th 2022.- Peter Graham
Estimated dispatch 7-14 working days
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£69.95
Transformation (Brass Band - Score and Parts) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£34.95
Transformation (Brass Band - Score only) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£69.99Willow Pattern (Brass Band - Score and Parts) - Harper, Philip
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Chang by the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone.The Willow Pattern Legend:Once, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only the exotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it be stolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescue Knoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip. They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men set fire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness.Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware.Duration: 12:00
Estimated dispatch 7-14 working days
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£89.95
Infinity (Brass Band - Score and Parts) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£44.95
Infinity (Brass Band - Score only) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£10.00
Infinity (Brass Band - Study Score) - Redhead, Robert
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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£89.95TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95
TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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£30.00Black Bottom Stomp - Jelly Roll Morton
Ferdinand Joseph LaMothe, professionally known as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognised as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition in 1915. Morton is also notable for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say". Notorious for his arrogance and self-promotion, Morton claimed to have invented jazz outright in 1902, much to the derision of fellow musicians and the critics. At the age of fourteen, Morton began working as a piano player in a brothel (or, as it was referred to back then, a sporting house). In that atmosphere, he often sang smutty lyrics and took the nickname "Jelly Roll". While working there, he was living with his religious, church-going great-grandmother; who he convinced that he worked as a night watchman in a barrel factory. After Morton's grandmother found out that he was playing jazz in a local brothel, she kicked him out of her house and told him that "devil music" would surely bring about his downfall. Born in downtown New Orleans, Louisiana, his exact birth date differs depending to whichever source you want to believe; his half-sisters claimed he was born in September 1885, but his World War 1 draft card showed September 1884 and his California death certificate listed his birth as September 1889. He died in 1941 in Los Angeles.
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