Results
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£44.95Revelation (Score Only)
Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell's death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell's own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne's trumpets are themselves placed stereophonically ". . . At the round Earth's imagined corners" and it is this feature that today's players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell's music re-enters in a lasting tribute to England's first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o 'erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15
Estimated dispatch 7-14 working days
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£25.00Prelude 1946
For seventy years, the North West Area Brass Bands Association has been representing bands in the North West of England and surrounding areas. Their members come from Cheshire, Derbyshire, Greater Manchester, Isle of Man, Lancashire, North Wales, Staffordshire and Yorkshire. Prelude 1946 was commissioned to mark this special land-mark year. Taking inspiration from John Williams 1988 Olympic Spirit, the work opens with a heraldic fanfare before moving into its stately main theme, which gradually builds into a triumphant climax. An ideal concert opener for those of you who want to start off a concert with some American-style flair. Duration: 00:03:45 Grade : 3
Estimated dispatch 5-7 working days
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£25.00The Garland Waltz (Tchaikovsky arr. Dan Price)
The Garland Waltz comes from 'The Sleeping Beauty', the second of three ballets by Pyotr Tchaikovsky. Sleeping Beauty's theme is simplistic and focuses on the conflicting forces of good and evil through the characters the Lilac Fairy (good) and Carabosse (evil). The ballet's premiere in 1890 received more favourable accolades than 'Swan Lake' but Tchaikovsky never witnessed the work's true success outside of Russia as he died in 1893. By 1903, 'The Sleeping Beauty' was the second most popular ballet in the repertoire of the Imperial Ballet, having been performed 200 times in only 10 years. The waltz and other music from the ballet has been used extensively in film and television, most notably in Disney's animated version of 'Sleeping Beauty' and the recently released 'Maleficent'. Here, Dan Price faithfully transcribes Tchaikovsky's original score for Brass Band. Duration : 00:04:45 Grade : 3.5 / 4
Estimated dispatch 5-7 working days
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£44.99Korobeiniki - Russian Traditional
ABOUT THIS PIECE: "Korobeiniki" is a nineteenth-century Russian folk song that tells the story of a meeting between a peddler and a girl, describing their haggling over goods in a veiled metaphor for courtship. Outside of Russia, "Korobeiniki" is widely known as the Tetris theme (titled "A-Type" in the game), from its appearance in Nintendo's 1989 version of the game. One of our most popular arrangements, this piece is high-paced and features all the usual trappings associated with this musical style - fireworks to start, a slow, melancholy iteration of the melody, an unruly accelerando, and all finished with a loud shout ('Oi!') from the band! ENSEMBLE: Standard British Brass Band WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 2 (choose your tempo wisely!) LISTEN: DURATION: c. 3-minutes EXAMPLE SCORE: Click here LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£49.95Bestowal of a Century - Christopher Bond
Bestowal of a Century (2014) was commissioned by Lowenna Taylor, and funded through her Harry Mortimer Trust award which she was presented with at the 2013 British Open Championship following the completion of her studies at the Royal Welsh College of Music in Cardiff. The 15-minute work received its world premiere at the Cornwall Youth Brass Band Christmas concert in 2014 with solosit, Lowenna, working alongside the band under the baton of Les Neish. The 'Bestowal' refers to the presentation of the Royal Trophy by the then Prince of Wales to the famous West of England Bandsman's Festival in Bugle in 1913. Over the years it has been won by some of the greatest names in brass banding, including Black Dyke and Munn & Feltons - although more recently it has become a wonderful open festival that includes sections for local bands as well as visitors from all over the banding globe. 2014 marked the one-hundredth anniversary of the presentation of the trophy, which is the only brass band trophy to have the official seal of royal patronage. The work, in three distinct sections, opens in a mysterious way, building progressively with interjections from the horn. The composer notes its as though one can imagine different part of the trophy being put together, piece by piece, until the trophy is complete and a climax is reached. Following this, a playful theme is presented which is developed throughout the first section and interacting between soloist and band. The second movement, in complete contrast, is a lyrical melody; heart-wrenching throughout, and sits well both as part of the concerto and also as a stand-alone solo item. The third movement is light-hearted and virtuosic, demonstrating the technical capabilities of the instrument with fast and virtuosic playing, and a cadenza towards the end of the work.
Estimated dispatch 5-10 working days
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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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£183.20Folklore - 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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£105.20Viss eg var ein julekonge (Fra Julekongen) - Stray
This is the theme song from the Advent-series "Julekongen" ("The Chiristmas King"), premiered at the Norwegian Broadcasting Coprporation (NRK) in 2012. The present arrangement tries to recreate a bit of the mood from the original recording and performance of the song. You may let other players perform as soloist(s). The arrangement is suitable to focus on sound quality at all grade levels. You may end the performance at bar 61.
Estimated dispatch 5-14 working days
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£134.99Sinfonietta: The Town Beneath the Cliff - Philip Sparke
Sinfonietta: The Town Beneath the Cliff was commissioned by Holmestrand Ungdomskorps from Vestfold in Norway. The work is in four movements: a spectacular fanfare followed by a 'moto perpetuo'-like toccata. The third movement Hymn is a beautiful piece of music allowing the band to show its musicality and sound. The last movement Scherzo Finale opens with a short phrase from Holmestrand's own 'town song' Holmestrandsangen, which comes again in full at the end of the piece, accompanied by a florid passage based on the opening theme.
Estimated dispatch 5-14 working days
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£118.99
Elegy I - Jacob de Haan
Elegy I 'Jealousy' has been named after John Donne's poem of the same name. This English poet (1572-1631) wrote an entire series of elegies, each with its own theme. Jealousy can trigger various emotions, ranging from disappointment, grief, or regret, to madness and anger. All these emotions have been incorporated into this composition. Jacob de Haan was inspired by three different works of art: a poem (the aforementioned poem by John Donne), a painting by the Norwegian painter Edvard Munch (Jealousy in the Garden) and an old French chanson about jealousy (Je ne l'ose dire) by the sixteenth-century French composer Pierre Certon. The music refers repeatedly to thischanson - sometimes through key notes from the melody that serve as the starting point for new, isolated themes and sometimes through quotations of the original version
Estimated dispatch 5-14 working days