Results
-
£89.95
INFINITY (Brass Band Set) - Robert Redhead
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
-
£10.00
INFINITY (Brass Band Study Score) - Robert Redhead
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
-
£34.95
MOTIVATION (Brass Band Set) - William Himes
The title of this extended march is derived from the song 'Would you know why I love Jesus, Why he is so dear to me? 'Tis because my blessed and Saviour From my sins has ransomed me' which is featured throughout this rythmic and original composition.
Estimated dispatch 7-14 working days
-
£34.95
FATHER'S BLESSING, The (Brass Band Set) - Kenneth Downie
This music is a treatment of the tune that William Tomer wrote for the words 'God be with you till we meet again'. In recent years, Ralph Vaughan Williams' tune 'Randolph' has often been the preferred choice to accompany these words although this composer was drawn to the original tune. Serenity is the prevailing mood of the piece although there is chance for the band to 'open up' in the link passages.
Estimated dispatch 7-14 working days
-
£24.95
DAVID OF THE WHITE ROCK (Cornet Solo with Brass Band Set) - Ray Bowes
This melody is reputed to have originated in Caernarvonshire, North Wales. Tradition holds that a bard called David, lying on his deathbed, called for his harp and performed this plaintive tune, expressing a desire that it should be played at his funeral. Ever since the tune has been called by his name and that of his house 'Garagwen' ('Druid Stone' or 'White Rock'). The solo is not just a slow melody with brass band accompaniment but is a composite whole, the band needing as much sensitivity as the soloist in the presentation.
Estimated dispatch 7-14 working days
-
£59.95
FESTIVITY (Brass Band Set) - Leslie Condon
This is a celebrational and witty composition that has all the hallmarks of Condon's innovative style. Originally written for brass quintet and first performed by chosen soloists in 1972, it was scored for brass band a few years later. Acrobatic energy, dignity and solemnity are all aspects of this work. The majestic hymn tune 'Gopsal' is the theme with which the words 'Rejoice, the Lord is King' are associated.
Estimated dispatch 7-14 working days
-
£60.00
Requiem Paraphrases - Peter Meechan
Requiem Paraphrases uses the opening bars of Mozartas Requiem as its musical material for the whole piece. An aggressive opening is followed by a sounding of Mozartas original theme, in a setting for low brass and solo euphonium. Percussion and woodwind then enter, as the soloist begins to elaborate. A brief return to the opening is followed by a new, percussion driven, section.The euphonium and various soloists in the ensemble interact, exchanging ideas over an ostinato in the marimba. As this section continues towards the cadenza, the ensemble gradually takes on more of an accompanying role, leaving the soloist to again break free, with flourishes and gestures leading to the cadenza.Following this, there is a short recapitulation, before the euphonium brings us to a dramatic conclusion!Requiem Paraphrases was commissioned by, and dedicated to Steven Mead.
Estimated dispatch 12-14 working days
-
£154.99Sunrise with Sea Monsters - Oliver Waespi
The title of this work is based on the painting of the same name by the English painter William Turner. The ambiguity and suggestive power of this seascape offers great musical possibilities. The first part of the work represents the sunrise, and depicts scenes from Greek mythology in which two sea monsters from Odyssey play their part. In Charybdis, rugged high and low sound fields contrast with a tuneful theme, veined with restlessly pulsing lines. The subsequent fragmentary movement, Sirens, is characterized by mysterious sounds and intertwined arabesques, that are increasingly overshadowed by menacing chords. Concluding the final movement is another famous musical monster: a Tarantella. Sunrise with Sea Monsters was commissioned by the Brassband Burgermusik Luzern and was premiered at the 2023 Swiss Brass Band Championships, conducted by Michael Bach.
Estimated dispatch 5-14 working days
-
£59.99A Lyrical Duet - Bert Appermont
This attractive composition focuses on the lyrical qualities of two solo instruments: tenor horn and baritone. An expressive theme is initially performed by the baritone; then the tenor horn takes over this melody. A rich dialogue arises, in which the soloists make music in sweet harmony, and then in a 'call-and-response game'. In the B section, the lyricism becomes more virtuosic, and a more playful character comes to light. There is then a gradual build-up to a grand tutti in which the opening theme resounds again. The work ends in a reverie, echoing the dreamy beginning.A Lyrical Duet was commissioned by tenor horn artist, conductor, and teacher Tim De Maeseneer, and is dedicated to him and Katrina Marzella. The work can be heard on Tim's solo CD, Beyond the Paradox, a project that was created in collaboration with Brass Band Willebroek and its conductor Frans Violet.
Estimated dispatch 5-14 working days
-
£60.99Klezmeriana - Jan de Haan
The instrumental music of the Yiddish-speaking Jews, especially those of Eastern Europe, is known as klezmer. This terminology was originally used in Jewish cultural life as the name of a musician who played at weddings. At Jewish weddings, which usually last several days, klezmer musicians played not only dance music but also ceremonial music - for example during the wedding ceremony, and also music that was listened to during the wedding feast. Originally, there was no special term for this style of music. It was simply referred to as 'Jewish wedding music'. In the 1970s, the music - which is actually a fusion of different influences - enjoyed a resurgence in popularity and came to be known as klezmer. This music contains not only the sounds of the Balkans, but also influences of oriental and gypsy music too. Jan de Haan used no original klezmer melodies for Klezmeriana, but composed a series of sound-alike in an instrumentation for brass band.
Estimated dispatch 5-14 working days
View Music