Results
-
£44.95Dances and Arias (Brass Band - Score only) - Gregson, Edward
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance - Aria I - Dance (scherzo) - Aria II - Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.The work is dedicated to my brother and sister.- Edward GregsonDuration: 14.00
Estimated dispatch 7-14 working days
-
£24.95Music for Greenwich (Brass Band - Score only) - Gregson, Edward
Music for Greenwich was commissioned in 1980 by the Greenwich Theatre, London, for a new production of Peter Buckman's play 'All Together Now'.In this play, about a down-at-heels brass band in the North of England brought to a new level of self-confidence and achievement by an incoming conductor, the whole cast performed a test piece on stage every night (i.e. Music for Greenwich), in readiness for a competition which they have entered and, of course, win. Although the play is as much a social commentary as anything to do with music-making, every member of the cast had to be able to play a brass instrument to a greater or lesser extent (a difficult challenge for the casting Director!).For obvious reasons, the music is not technically difficult. The work is structured as follows: a brief fanfare-like opening is followed by an allegro section, rhythmic and playful; a slow lyrical section is then introduced (a suitably nostalgic melody featuring solos for cornet and trombone), before a return to the fast music, a hint of the fanfare, and finally a climactic flourish to round things off. This is music to be enjoyed, as hopefully it was every night by the audience and actors alike.Duration: 5.00
Estimated dispatch 7-14 working days
-
£12.99
Cowboy Suite Score Only
In the tripartite 'Cowboy Suite' Alan Laken takes us to the Wild West, the domain of cowboys, indians, trappers and other fortune hunters. Around 1890 the west coast of America was reached, which in effect meant the end of the Wild West. Its stories, however, survived and have been a source of inspiration for many books, films, and, of course, music. Some characters, such as Jesse James, Billy the Kid, and Buffalo Bill are forever linked to these tales. In the 'Cowboy Suite' we first hear the 'Hoedown'. At the end of an exhausting workday the labourers used to lay down their tools, among others the 'hoes' and spontaneously began to play music on the instruments which they then possessed (guitars, fiddles, and banjos) and to dance. After being jolted on the 'Wagon Trail' we reach the third part, the 'Cowboy Roundup'. In this last part it becomes clear that as a cattle driver it is imperative to stay firmly seated in the saddle. As the cattle are rounded up, i.e. driven together, spectacular things happen. 04:45
Estimated dispatch 7-14 working days
-
£44.95HEART OF THE HIDDEN FLAME (Brass Band - Score only) - Mealor, Paul
I saw the Weaver of Dreams, an immortalshape of star-eyed Silence; and the Weaver of Death, a lovelyDusk with a heart of hidden flame; and each wove with theshuttles of beauty and Wonder and mystery... Come unto me,O Lovely Dusk, though that has the heart of hidden flame.Fiona MacLeond, 'The silence of Amor'.This work is written for standard brass band instrumentation plus timpani and two percussionists.Duration: 15:00
Estimated dispatch 7-14 working days
-
£44.95VIVAT! (Brass Band - Score only) - Davoren, Tom
2012 National Championships Finals - First Section. Commissioned for the 2012 Section 1 Finals as a celebration of the Queen's Diamond Jubilee, the work is in three contrasting continuous sections and the music is derived from Parry's coronation anthem, I Was Glad. The sections are: In Memorium, evoking the noble but gentle personality of the Queen's father, George VI; Coronation, a fanfare and subsequent theme capturing the spirit and excitement of British pomp; and Jubilate, a celebration of life and family values.
Estimated dispatch 7-14 working days
-
£37.95Connotations (Brass Band - Score only) - Gregson, Edward
Connotations was commissioned for the 1977 National Brass Band Championship finals, held in the Royal Albert Hall, London (the winner, incidentally, of that particular competition was the famous Black Dyke Mills Band).At the age of 32 Gregson was the youngest composer to have received the honour of such a commission. It came at the end of a productive five years writing for the brass band publisher R Smith. Some of those works - The Plantagenets, Essay and Patterns for example, with their direct and tuneful style, have remained popular with brass bands the world over.For Gregson, these were the means by which he sharpened the tools of his trade, preparing the ground, as it were, for his finest work to date - Connotations. He thought of calling the piece Variations on a Fourth, but with due deference to Gilbert Vinter perhaps (Variations on a Ninth), he chose a more appropriate one. As Gregson has written, 'Connotations suggests more than one way of looking at something, an idea, and this is exactly what the piece is about'.Writing a competition piece brought its own problems. 'It has to be technically difficult and yet musically satisfying. I didn't like being kept to an eleven-minute maximum. The inclusion of short cadenzas for less usual solo instruments seems to signify a certain test-piece mentality'.Gregson solved the problems admirably by adopting a symphonic approach to variation form: Introduction - fanfares, a call to attention, in effect Variation 1; Theme - a six-note motif, given a lyrical and restrained first statement; Variation 2 - a delicate toccata; Variation 3 - typically robust in melody and rhythm; Variation 4 - lyrical solos; Variation 5 - a scherzo; Variation 6 - cadenzas; Variations 7-9 - an introduction, fugato and resounding restatement of the theme.Duration: 10.30
Estimated dispatch 7-14 working days
-
£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's 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 Cardinal's 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 Teresa's 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
-
£102.60Det er makt i de foldede hender - Trygve Bjerkrheim
This arrangement is written to commemorate Robert Kvam, a trumpeter, conductor and instrument repair technician.He died of cancer in 2019, only 54 years old.The quiet, beautiful hymn There is power in the folded hands (Trygve Bjerkrheim / Oivind Tonnesen) was his favorite song, and the tune and lyrics are the fundament of this arrangement. Especially the line in themselves, the hands are small and weak is an important motif to the arrangement.
Estimated dispatch 5-14 working days
-
£8.99Disney Around the World (Score Only)
If you're a Disney fan, this is your moment! This medley for brass band by James Christensen contains many of the great hits from the rich Disney repertoire: Alice in Wonderland, Colonel Hathi's March, I Wanna Be Like You (Jungle Book), It's A Small World, Let's Go Fly A Kate (Mary Poppins), Night on Bald Mountain, Robin Hood, The Sorcerer's Apprentice, Under the Sea and Zip-A-Dee-Doo-Dah.
Estimated dispatch 7-14 working days
-
£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
View Music