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£79.95Grieg Variations - Jonathan Bates
DURATION: 12'30". DIFFICULTY: 2nd+. . 'Grieg Variations' is a through-composed work in the traditional style of a 'theme & variations'. The work opens with the main melodic fragment featured throughout Grieg Variations which comes from Grieg's Peer Gynt Suite No.2; the final movement - 'Solveig's Song'. . This theme is followed by a set of 9 variations, each taking inspiration from various melodies and styles found within the Peer Gynt Suite. The first variation, a light-footed scherzo based upon the tonal line of Solveig's Song is followed by an 'Alla marcia' variation - in which the music is inspired by the 2nd movement - 'Arab Dance' - of the original suite. The 3rd variation takes a far darker and more aggressive turn in a variation set around the music of the 1st movement of the Peer Gynt Suite before a relaxation into a solemne revisiting of the original theme. Opening with a sombre and longing solo for Flugel horn, the focal point of this 4th variation is an extended solo for the Solo Euphonium, marked 'molto espressivo'. The new material here is used as a theme throughout this variation, being reprised by the full band immediately after as the music builds to a climax point at the top of the musical line. . Following this, there are 2 cadenzas for the Solo Horn and Solo Cornet respectively; the former inspired by the thematic material of Solveig's Song, and the latter from the Oboe cadenza at the beginning of Grieg's '2 Lyric Pieces, Op.68'. These cadenzas lead swiftly into the 7th variation, a bustling rhyhm-driven movement set in complex time. The 3rd movement of the Peer Gynt Suite No.2 - 'Peer Gynt's Homecoming' - makes it's first appearance in variation 8 in a triumphant battle-like setting before a combination of both this material and the Solveig's Song combine to bring Grieg Variations to it's close -not without a little nod to potentially Grieg's most famous work - In The Hall of the Mountain King. . .
In Stock: Estimated dispatch 1-3 working days
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£10.00Endurance
DescriptionMen wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success. - Ernest Shackleton, 4 Burlington StreetEndurance takes its title from the ship used by Sir Ernest Shackleton's Imperial Trans-Antarctic Expedition in 1914-15. After many months of fundraising (and reputedly running the above advert in The Times) the Endurance set sail from Plymouth on 6 August 1914. Whilst at sea news of the outbreak of war led Shackleton to put his ship and crew at the disposal of the Admiralty, but their services were not required and they were encouraged to continue. On October 26 1914 they left Grytviken on South Georgia for the Antarctic continent, hoping to find the pack ice shrinking in the Antarctic spring. Two days later, however, they encountered unseasonable ice which slowed their progress considerably. On 15 January 1915, when Endurance was only 200 miles from her intended landfall at Vahsel Bay, the ship became beset by ice which had been compressed against the land to the south by gale force winds. Trapped in the ice of the Weddell Sea, the ship spent the Antarctic winter driven by the weather further from her intended destination until, on 21 November 1915 Endurance broke up forcing the crew to abandon ship and set up camp on the ice at a site they named "Patience Camp".The crew spent several weeks on the ice. As the southern spring started to reduce the extent of the ice shelf they took to their three lifeboats, sailing across the open ocean to reach the desolate and uninhabited Elephant Island. There they used two of the boats to build a makeshift shelter while Shackleton and five others took the largest boat, an open lifeboat named the 'James Caird' and sailed it for 800 terrifyingly dangerous miles across the vast and lonely Southern Atlantic to South Georgia - a journey now widely regarded as one of the greatest and most heroic small-boat journeys ever undertaken. After landing on the wrong side of the island and having to climb over a mountain range in the dark with no map, Shackleton and his companions finally stumbled back into the Grytviken whaling station on 19 May 1916.After resting very briefly to recover his strength, Shackleton then began a relentless campaign to beg or borrow a ship to rescue the rest of his crew from Elephant Island; whaling ships were not strong enough to enter polar ice, but on 30 August 1916, over two years after their departure from Plymouth, Shackleton finally returned to Elephant Island aboard a steam tug borrowed from the Chilean government. Although some were in poor health, every member of the Endurance crew was rescued and returned home alive.Endurance is dedicated to the memory of my mum, who passed away in September 2017.Listen to a computer generated preview and follow the score below:
Estimated dispatch 7-14 working days
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£40.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£50.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£0.99New Christmas Praise Song Book 1 - 95
These books are now an archive publication and, although are still available, have been superseded by Christmas Collection (available in marchcard size: https://www.sps-shop.com/cc-marchcard or A4 size https://www.sps-shop.com/cc-largeprint). Christmas Collection includes 46 new carols and songs as well as 10 extended carols (originally seen in the Sounds of Christmas books).Ideal for congregational singing.CONTENTS 1. A child this day is born 2. A Christmas Lullaby 3. A great and mighty wonder 4. A starry night 5. A virgin most pure 6. All my heart this night rejoices 7. Angels from the realms of Glory (Come and worship) 8. Angels from the realms of Glory (Iris) 9. Angels, sing again? 10.Angels we have heard on high 11.As with gladness men of old 12. Away in a manger 13. Away in a manger (The manger scene) 14. Bethlehem 15. Brightest and best 16. Brightest and best (Spean) 17. Child of Mary 18.. Calypso Carol 19. Carol for the Nativity 20. Carol of the bells 21.Carol of the drum 22. Christ was born on Christmas Day 23. Christians Awake 24. Come, children, come quickly 25. Coventry carol 26. Do you hear what I hear 27. Ding dong! merrily on high 28. Gabriels message 29. Glory in the highest 30. Go, tell it on the mountain 31. God of God, the uncreated 32. God rest you merry, gentlemen 33. Good Christian men, rejoice 34. Good King Wenceslas 35. Hark the glad sound! 36. Hark! the herald angels sing 37. How far is it to Bethlehem 38. I saw three ships come sailing in 39. I wonder as I wander 40. Il est n 41. Immanuel Appears 42. In the bleak mid-winter 43. Infant Holy 44. It came upon the midnight clear (Traditional) 45. It came upon the midnight clear (Willis) 46. Jesus, good above all other 47. Joy to the world 48. Little baby Jesus 49. Little Jesus, sweetly sleep. 50. Little donkey 51. Long, long ago 52. Marys boy child 53. Masters in this hall 54. Noel 55. o come, all ye faithful 56. o come, Immanuel 57. O come with me to Bethlehem 58. O little town of Bethlehem (Christmas Carol) 59. O little town of Bethlehem (Forest Green) 60. O little town of Bethlehem (St Louis) 61. O Heaven-sent King 62. O holy night 63. Once, in royal Davids city 64. Past three oclock 65. Personent hodie 66. Praise ye the Lord 67. Rise up, shepherd! 68. Sans day carol 69. See, amid the winters snow 70. Silent night! 71. Sleep, holy Babe 72. Softly the night is sleeping 74. Stars are shining 73. Sussex carol 76. Sweet chiming bells 75. Sweet chiming Christmas bells 77. The angels sang the story 78. The first Nowell 79. The holy Boy 80. The holly and the ivy 81. The infant King 82. The shepherds farewell 83. The virgin Mary had a baby boy 84. The stable door 85. They all were looking for a king 86. Three kings march 87. Unto us a boy is born 88. Wayfaring 89. We gather round the manger-bed 90. We three kings of Orient are 91. What child is this 92. When wise men came seeking 93. While shepherds watched 94. Who is he 95. Zither carol
Estimated dispatch 7-14 working days
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£204.00Folklore - Kjetil Djønne
"Folklore" is a work for brass band and percussion loosely based on the story of the Norwegian woman accused of witchcraft, Anne Pedersdotter. She was sentenced to be burned at the stake in Bergen in the spring of 1590 and has since been frequently highlighted as Norway's most famous and talked-about witch.The work begins with the movement "Lyderhorn," depicting the mountain outside Bergen where witches gathered to plan magical actions against the city. Here, we hear the quietness of nature and the wind blowing through the trees before a new theme appears, which will come to life in the next movement. In the distance, the witches have started their ceremony.In the next movement, "Walpurgis Night," the witches perform their rituals to afflict the city with fire, disease, and natural disasters. The ceremony becomes more and more chaotic, violent, and compelling until the darkness of the night envelops us, concluding the section.The third movement describes the women's inner struggle against the harassment they faced when the people of Bergen suspected them of being witches. Rumors often turned into formal accusations from the legal system, and many were sentenced to death after undergoing trial. "From life to death through the fire."The fourth and final movement, "The Pyre," depicts the actual death sentence. You can hear the pyre being ignited and the flames growing and intensifying. It all culminates in a chorale as a memorial to the lives that were taken.
Estimated dispatch 5-14 working days
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£30.00Ave Maria - Franz Schubert arr. Phillip Littlemore
Franz Schubert wrote his Ave Maria in 1825. It is the third of three song settings from Sir Walter Scott's poem The Lady of the Lake, itself written in 1810. It's proper title is Ellen's Song, named after the heroine of Scott's poem, Ellen Douglas.It has been suggested that the opening two words of the original song may have led to the idea of it being arranged for the full text of the Roman Catholic Prayer. It is now most often performed in this latter adaptation, thus leading to the misconception that it was originally set with the prayer in mind.Even in Schubert's own brief lifetime, he was only thirty-one when he died, this song was considered a masterpiece. It acquired greater popularity when it was used in the 1940 Walt Disney film Fantasia where its beauty and simplicity offered calm and respite following the tempestuous strains of Mussorgsky's A Night on Bare Mountain .Duration: 3'40"Difficulty: Suitable for all
Estimated dispatch 5-7 working days
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£53.50
On My Way (Brass Band - Score and Parts)
The English musician Phil Collins has written six new songs for the animated Walt Disney film Brother Bear. His catchy pop rock is well known and popular with a worldwide audience. In Brother Bear, the young Kenai kills a grizzly bear to avenge his brother's death. Then he is magically transformed into a bear himself and he makes friends with the bear cub Koda. Together, they undertake a long, exciting journey in search of the mountain where Kenai can become human again. Meanwhile Kenai's remaining brother hunts them in order to avenge his family. Thus, the main themes of Brother Bear are brotherhood and friendship. On My Way gives voice to the courage and the determination that characterise Brother Bear. Peter Kleine Schaars has produced an excellent arrangement for band, which reflects the original film music very well. 03:45
Estimated dispatch 7-14 working days
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£18.99
On My Way (Brass Band - Score only)
The English musician Phil Collins has written six new songs for the animated Walt Disney film Brother Bear. His catchy pop rock is well known and popular with a worldwide audience. In Brother Bear, the young Kenai kills a grizzly bear to avenge his brother's death. Then he is magically transformed into a bear himself and he makes friends with the bear cub Koda. Together, they undertake a long, exciting journey in search of the mountain where Kenai can become human again. Meanwhile Kenai's remaining brother hunts them in order to avenge his family. Thus, the main themes of Brother Bear are brotherhood and friendship. On My Way gives voice to the courage and the determination that characterise Brother Bear. Peter Kleine Schaars has produced an excellent arrangement for band, which reflects the original film music very well. 03:45
Estimated dispatch 7-14 working days
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£132.00
Abstractions - Torstein Aagaard-Nilsen
Verket ble bestilt av Norges Musikkorpsforbund som pliktnummer til NM for Brass Band 2. divisjon (na 1. divisjon) 1990.Satstitlene er abstraksjoner der synsopplevelser er tenkt gjenskapt som musikk, altsa en abstrakt fremstilling av et motiv, likt et abstrakt bilde der man ikke umiddelbart kan se likheten.1. Aurora Borealis (Lento espressivo) Inspirert av Nordlyset som kan vaere svaert intenst vinterstid.Det er aldri i ro og antar nye fasonger og farger hele tiden mens det farer over nattehimmelen.The first movement is inspired by the northern lights. It constantly changes in colour and shape.2. Rocks (Moderato ben ritmico)I denne satsen er tittelen et ordspill. Ordet "rock" er velkjent i musikken, men er ogsa en enorm stein eller del av et fjell.The title of the second movement is a play with the word "rock" is a well-known word describing a musical genre. But it is also a giant stone or a part of a mountain.3. Seascape (Allegro)I denne satsen forsoker jeg a fange ulike aspekter ved havet, samtidig som satsen samler opp musikalske ideer fra de to foregaende satsene. Denne satsen videreforer, oppsummerer og avslutter verket.The third movement is inspired by different aspects of the sea. It also sums up different ideas that occurs in the two previous movements to round off the whole piece.Tredje utgave - 2015Third Edition - 2015
Estimated dispatch 7-14 working days