Results
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£45.00The Sword and the Star
DescriptionThe Sword and the Star was written in 2006 for the Middleton Band at the request of their Musical Director, Carl Whiteoak. The inspiration for the work was the band's badge, which features a medieval archer. The town of Middeton's historical link with the symbol of the Archer came from the English victory at the Battle of Flodden in September 1513, where bowmen from Middleton and Heywood under the command of Sir Richard Assheton played a vital part in crushing the invading Scottish army. Sir Richard captured one of the Scottish commanders and presented the prisoner's sword to the St Leonard's church in Middleton in recognition of the town's contribution. As long time Lords of the Manor, the Assheton family crest was for centuries featured in the coat of arms of Middleton council, and when Middleton became part of the Metropolitan Borough of Rochdale the black star from the Assheton crest was used to represent Middleton in the new borough's coat of arms. Hence the title The Sword and the Star, for a piece which attempts to give an impression of the town as it was then and as it is now.The music is in three short sections - a fanfare, a lament and a bright scherzo - and simply aims to contrast the medieval hamlet of Middleton with the bustling urban centre it has now become. The central lament features a Scottish song called "The Flowers of the Forest", written to mourn the loss of so many of Scotland's young men on the field of Flodden; the song returns in a much more positive form at the end of the piece.
Estimated dispatch 7-14 working days
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£80.00
From the Sea - Geert Jan Kroon
From the Sea is a three-part work with the theme of land reclamation. The first part (The New Land) expresses the feelings of expectation and tension that come with the brand-new land. The second part (The Old Sea) is a nostalgic look back at the (old) sea. A sea that was sometimes turbulent, but also a source of life. The third part (The Future Land) captures the joy of living on the new land up to the present day. The work was commissioned by the joint music associations of the Noordoostpolder.
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£44.95Trombone Concerto (Trombone Solo with Brass Band - Score only) - Wiffin, Rob
My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout! It was composed in Spain in the summer of 2010. Once I started writing I realised that this concerto was inevitably going to draw on my own experiences as a trombone player. The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not in the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo. The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write something ineluctably 'cantabile' as we trombone players rarely get a chance to play the melody. There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson, that great exponent of the singing style in trombone-playing and my teacher at college died in the summer of 2010 so it seemed appropriate to dedicate this movement to him. The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist. While wanting to test the instrument I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.- Rob Wiffin
Estimated dispatch 7-14 working days
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£87.95
Trombone Concerto (Trombone Solo with Brass Band - Score and Parts) - Wiffin, Rob
My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout! It was composed in Spain in the summer of 2010. Once I started writing I realised that this concerto was inevitably going to draw on my own experiences as a trombone player.The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not in the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo.The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write something ineluctably 'cantabile' as we trombone players rarely get a chance to play the melody. There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson, that great exponent of the singing style in trombone-playing and my teacher at college died in the summer of 2010 so it seemed appropriate to dedicate this movement to him.The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist.While wanting to test the instrument I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.- Rob Wiffin
Estimated dispatch 7-14 working days
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£119.99The Patriots (Brass Band - Score and Parts) - De Haan, Jan
The Dutch patriottentijd (literally Time of the Patriots) was a period of political instability in the 1780's. The country was led by regents who were occupied with their own personal interests rather than dedicating themselves to the needs of the people. In this revolutionary period, the devoted republican Patriots were in conflict with the Orangists. A civil war followed, in which the Patriots were beaten and driven away by a Prussian army. This composition is an abstract piece inspired by the Patriots. The thematic material is based on the Dutch war song Merck toch hoe sterck. Its powerful minor melody, which has its origins in the Eighty Years' War, is recognisable throughout the work, presented in variations of constantly shifting character.Duration: 14.15
Estimated dispatch 7-14 working days
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£39.95The Divine Right (Brass Band - Score only) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£99.99
The Divine Right (Brass Band - Score and Parts) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£64.95A Day in the Life of a Knight (Brass Band - Score and Parts) - Lawrence, Phil
Here we have a most descriptive piece of writing - a story through music. A fantastic 1st section test piece and championship concert work:The opening scene would depict standing on the battlements of a castle hearing the thundering hoofs of our brave Knight's horse miles in the distance. His arrival is expected, and his reputation is known across many lands. Today, he is to joust amongst mere mortal knights and compete for the hand of the fair (and local) Princess.He vanquishes all competitors and wins the day. The scene moves to evening and court where reception and dance is to be held for our winning knight. Both Knight and Princess become centre of attention during the dance. Their eyes only for each other.At last, the Knight has a chance to be a lone with his Princess as they steal away from the celebrations to a star lit rampart above the castle gardens, where the Knight declares his ever-lasting love and pledges his life and of honour to her. He asks her hand, meanwhile monks pray in the below chapel hoping for union. She say's yes. It is announced in court, then blown from the battlements.Day breaks; he is brought word of evil doings back in his own land. He leaves word to the Princess that he will be back soon to take her hand. The trouble back home was a rouse to get him away from the Princes so one of the vanquished, a dark knight in yesterdays joust, has summoned a dragon to kidnap the princess for his own.As the truth of the deception reaches our Knight he quickly returns to face the varlet that has taken his Lady. This time tis no joust, but a fight to the death with the dark knight and dragon. Our champion proves his best once again and wins the day and the hand of his Princess forever!- Phil LawrenceSuitable for 1st Section Bands and aboveDuration: 11.15
Estimated dispatch 7-14 working days
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£24.95SNARING OF THE SUN, The (Brass Band Extra Score) - Roberts, Stephen
2015 National Championships Finals Testpiece - Second Section - Extra Score. The Graces of Love (Le Gratie d'Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milan court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune Il bianco fior (The White Flower) on which the first movement of the present piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune Vaghe bellezze ... (Veiled Beauty ...). Widely spaced melodic parts surround two solos during which the tune is varied and developed. Finally, the third movement contains a saltarello with a hypnotic rhythm, ending the work with flair and gusto. Duration: 11:30
Estimated dispatch 7-14 working days
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£99.95
SNARING OF THE SUN, The (Brass Band Set) - Roberts, Stephen
2015 National Championships Finals Testpiece - Second Section. The Graces of Love (Le Gratie d'Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milan court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune Il bianco fior (The White Flower) on which the first movement of the present piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune Vaghe bellezze ... (Veiled Beauty ...). Widely spaced melodic parts surround two solos during which the tune is varied and developed. Finally, the third movement contains a saltarello with a hypnotic rhythm, ending the work with flair and gusto. Duration: 11:30
Estimated dispatch 7-14 working days
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