Results
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£45.00Triumph Series Band Journal November 2013 Numbers 1243-1246
No. 1243 March - Life Savers (Andrew Mackareth)This march was written for the band weekend at Belfast Citadel and incorporates the tune Jesus Saves (T.B. 703)No. 1244 Affirmation (Kenneth Downie)The title comes from the affirming tone of the chorus on which the music is built, He is the Lord, which itself is inspired by Phillippians, chapter 2. The chorus does not appear in its entirety at any point, but is obvious to a greater or lesser extent, in the texture of the music.No. 1245 A Celtic Blessing (arr. Erik Silfverberg)This is a simple arrangement of c Celtic traditional tune used to the lyrics of the familiar blessing:May the road rise to meet you,May the wind be always at your back,May the sun shine warm upon your face,The rain fall soft upon your fields,Until we meet again,May God hold you in the palm of his hand.No. 1246 Michael, Row! (David Catherwood)This arrangement of the traditional chous, 'Michael, row the boat ashore' (T.B. 285), is in a light swing style and also incorporates the tunes, 'Love lifted me' (T.B. 725) and 'Will uour anchor hold?' (T.B. 60).
Estimated dispatch 7-14 working days
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£34.95Trusting Faith (Euphonium Solo with Brass Band - Score and Parts)
This piece is based on the melody Faith is the victory (T.B. 128) and throughout the solo we follow a person's journey of faith. In the first movement, the bold and confident opening depicts a seemingly strong and certain faith, although perhaps a little naive and immature. The music suggests that if we are certain enough, then we will see our prayers immediately answered and will witness miracles. But what happens when we don't see those miracles happen, or our prayers seem unanswered? Doubt creeps in and the music quickly becomes a full struggle continuing through to the end of the moment.What do you do when you faith amounts to something other than what you thought it to be? The beginning of the second movement reflects this questions and starts hesitantly and full of doubt. Soon, a new melody is introduced, Trusting as the moments fly (T.B. 263). The words of the chorus remind us that true faith should bot be affected by fears or disappointments, that our trust in God should remain. Realising that a faith that holds firm, though being tested over time, becoming deeper and stronger, is a liberating truth. We no longer need to struggle in our strength alone, but can lean on God instead.When we lean on God, reset in his care, and feel. safe in his hands, then faith has really become our victory. We will then become strong disciples who can meet life's various challenges without wavering or being afraid. This is depicted in the final movement of the solo when both melodies, whose messages complement each other, are woven together in an explosive finale.
Estimated dispatch 7-14 working days
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£90.00Vienna Nights (Brass Band - Score and Parts)
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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£12.00
Vienna Nights (Brass Band - Study Score)
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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£34.95Judd: The Father's Blessing
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
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£29.95Judd: To Regions Fair
Clive Bright, in his score note when To Regions Fair was originally published in 1958, predicted that the march would 'have a good run'. In retrospect, this turned out to be something of an understatement as this march (and many other Bearcroft marches) remains vibrantly active fifty years after its original publication. The title is derived from the song 'Meet in bliss' which is featured in the trio section.
Estimated dispatch 7-14 working days
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£34.95The High Council (Brass Band - Score and Parts)
This march was written at the request of the then Chief of the Staff, Commissioner Arnold Brown for the welcome meeting of the 1974 High Council, a gathering of The Salvation Army's top leaders from around the world who meet to elect a new General. The scintillating music is filled with many wonderful and surprising shifts of key, rhythm and instrumental colour. Evangeline Booth's song 'The world for God' provides the international reference while at the trio's peak, the composer joins three tunes in impressive counterpoint; 'We're the Army' (cornets), 'A Robe of White' (horns and baritones) and 'Bound for Canaan's Shore' (trombones). The march ends with a dazzling shift into triple time and an impressive molto allargando codetta.
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only)
Berliozs opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes " the Cardinals aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresas aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo " without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£82.95Benvenuto Cellini (Brass Band - Score and Parts)
Berliozs opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes " the Cardinals aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresas aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo " without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£29.95
Rhapsody in Brass (Score Only)
Rhapsody in Brass is in three movements and was written for the British Open Championships in 1949, held at Belle Vue in Manchester. The contest winners were Fairey Aviation Works Band under the baton of Harry Mortimer. Eric Ball came second with Ransome & Marles and Stanley Boddington 3rd with Munn and Felton Band. Rhapsody in Brass had the unusual distinction of being written as a test piece by a Salvation Army composer. Eric Ball's Resurgam was the only other piece to achieve that dual personality in that era.Dean Goffin was born in 1916 in Wellington, New Zealand, son of Henry Goffin, a Salvation Army officer and composer. At 19 he was appointed Bandmaster of the Wellington South Band and when World War II started, he enlisted in the New Zealand Armed Forces where he became Bandmaster of the 20th Infantry Battalion and later the 4th Brigade Band. During the time he served with them in the Middle East and Europe, he composed and arranged numerous pieces among which Rhapsody in Brass and the march Bel Hamid, later adapted for Salvation Army use and renamed Anthem of the Free.After the war, Dean kept on composing and his work was featured by the Wellington South Band. Later he transferred to Timaru for another job and became Bandmaster there. He was studying music at the time and as he wanted to take part in a competition for devotional selections for Salvation Army use, he sent some of his compositions to the International Headquarters. When Rhapsody for Brass was chosen as the test-piece for the British Open Championships, people at the Salvation Army started asking questions about the lack of publications of his work. It was discovered that the pieces submitted for the competition didn't meet the exact criteria. Among these pieces was one of his most appealing works The Light of the World which was published a year later, in 1950, the same year as he completed his Bachelor of Music studies at Otagu University.After entering the Salvation Army Training College in Wellington with his wife, Marjorie, Dean was in 1956 appointed National Bandmaster in the British Territory. Later he became National Secretary for Bands and Songster Brigades and in this period he organised the yearly festival in the Royal Albert Hall and was responsible for the national music schools in the UK. Dean returned to his home country in 1966 and to mark the centenary of the Salvation Army in New Zealand he was knighted by the Queen in 1983. Sir Dean Goffin died on 23 January 1984.
Estimated dispatch 7-14 working days