Results
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£74.99Cornet Concerto No.1 - Jonathan Bates
My 'Cornet Concerto No.1' was composed for Lode Violet and Brass Band Willebroek in 2018 and features 2 movements, entitled 'Dystopia' and 'Utopia'. . The nature of the music in the opening section, 'Dystopia', is very jagged, disjointed and unsettling, as the soloist almost battles against the constant churning of the mechanical accompaniment, trying to persevere with it's own ideas and styles without being dragged into conforming to it's surroundings. The movement is based largely on the 3 note interval heard right at the outset of the piece (C, D & G#, a series of notes that lends itself so well to different modes, scales, harmonies and intervals) and this forms much of the rhythmic and harmonic structure of the opening section.Whilst this movement acts as a virtuoso feature to demonstrate the extended capabilities of both the soloist and instrument, I feel the accompanying ensemble plays an equal role in the narrative of 'dystopia', and features a number of demanding and prominent episodes for soloists within the accompanying band. A short and heavy coda concludes the movement, with a sense of real pain and sorrowfulness as the music fades away into darkness. . 'Utopia' opens in an instantly more hopeful nature, with the soloist introducing the first real 'theme' of the movement, taken up shortly by the accompaniment. Throughout this movement, there are a number of timbral and melodic references back to the darkness of 'dystopia', but transformed into a much more positive outlook and soundworld. There is a moment of quiet reflect (using the initial 3 note cell as a basis) before flying head first into a frenzied wild 'tarantella' like section, full of joy and energy which tests the dexterity and light-natured approach to virtuosity (much unlike the heavier material in the 1st movement) of the soloist. Primarily, the concept of this finale is fun - joy, happiness, and freedom from restraint, so the addition of a quirky 'tongue-in-cheek' habanera section offers a brief moment of respite from the craziness of the tarantella. To conclude the work, there is an extended cadenza for the soloist which is built on several motifs heard throughout the concerto, which leads the band into a dramatic and energetic final few bars.. Jonathan Bates. (2018). .
In Stock: Estimated dispatch 1-3 working days
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£24.95Cleopatra - Eugene Damare - R John Childs
This popular cornet solo was arranged by the late R John Childs whilst he was conductor of the Tredegar Town Band. It is one of the most famous of all triple-tonguing polkas and remains a favourite amongst cornet soloists and...
Estimated dispatch 5-7 working days
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£29.95It's Beginning to Look a Lot Like Christmas - Meredith Willson - John Barber
It's Beginning to Look a Lot Like Christmas was originally a hit for Perry Como and the Fontane Sisters with Mitchell Ayres and his Orchestra in 1951. Composed by Meredith Willson, the popular belief was that Willson wrote the song...
Estimated dispatch 5-7 working days
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£64.95New Beginnings - Fredrick Schjelderup - Christian Jenkins
New Beginnings was commissioned by the National Youth Brass Band of Great Britain and was first performed by The National Children's Brass Band of Great Britain in August 2021. It describes in sonic terms the effect that energy can create,...
Estimated dispatch 5-7 working days
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£29.95Sleigh Ride - Leroy Anderson - Christian Jenkins
Sleigh Ride was first conceived by composer Leroy Anderson during a heat wave in July 1946 and was completed in February 1948. Since its composition, it has become a standard of the light orchestral repertoire and is closely associated with...
Estimated dispatch 5-7 working days
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£34.95
CRUSADERS (Brass Band Set) - Dean Goffin
This march is based on the hymn tune 'Ascalon' named after the Palestinian city which was of strategic importance in the Crusader Wars. The tune is also called 'The Crusader's Hymn' and was used as such by Franz Liszt in his oratorio 'St. Elizabeth'. The melody is seldom absent and it can be heard in some form or other throughout the march.
Estimated dispatch 7-14 working days
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£59.95
ELLACOMBE CHRONICLES, The (Brass Band Set) - James Curnow
This piece was commissioned by Brass Band of Columbus for the occasion of the band's 25th anniversary in 2009. It is dedicated to current and former members of the band and its founding Director, Dr Paul Droste. The hymns of Isaac Watts (1674 - 1748) have been a source of inspiration for musical thought and development by composers for over 200 years. His glorious hymn 'I sing the mighty power of God' has been coupled with the hymn tune 'Ellacombe' in many hymnals over these two centuries. This work was created and inspired by Isaac Watts's text and chronicles the three verses of the hymn through a set of diverse variations on the hymn tune 'Ellacombe'. The opening fanfare is intended to capture the joy and exuberance of the first phrase of the first verse, 'I sing the mighty power of God that made the mountains rise'. The developmental material following the fanfare gives a hint of the three large variations that are extracted from the tune.
Estimated dispatch 7-14 working days
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£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
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£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
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£34.95
HAPPY LAND (Cornet Solo with Brass Band Set) - Terry Camsey
This composition is a very challenging one for the soloist and requires the accompaniment to be subservient at all times. The soloist will find it helpful to, generally, adopt a very light and playful style. As a young aspiring cornet player, the composer was influenced by a number of soloists of that day, one being Del Staigers of the Goldman Band in the USA. Many of the musical motifs reflect that influence and it is hoped that this solo will, in turn, inspire the many aspiring cornet players of today.
Estimated dispatch 7-14 working days