Results
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£89.99
Festive Impressions - Oliver Waespi
This brilliant opening work with the sub-heading Cinematographic Overture" is guaranteed to make a great impression on your audience. The piece starts with solemn brass-band motifs, followed by melodic movements in the quiet middle part that leads to a rich climax. At the end of this refreshing work, there is a reprise of the brass bands which reflects the spirit of this music very well. After all, this is the intention of this work which was written specially for the Musikverein Henggart" to celebrate their 75th anniversary.
Estimated dispatch 5-14 working days
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£69.99Prelude and Chorale - Stijn Roels
Prelude and Chorale is a scintillating, dynamic opening piece based on the brilliant finale from the earlier concert work Aureus. The latter work is built around a magnificent hymn--which also forms the common thread running through this overture.As the title suggests, the work begins with a modern 'prelude': a prologue to the actual hymn. The beginning of the hymn, especially, serves as the source of the thematic material. The hymn melody itself is immediately embellished by a counter-melody and supported by a rhythm section of bass and drums. This all leads to an energetic passage in which the proverbial stops are pulled out once more.
Estimated dispatch 5-14 working days
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£95.00Penlee - Simon Dobson
To some, the tragic story of the Penlee lifeboat, Solomon Browne, would need no introduction, and to some the pain felt is still very much a reality. The composer, born just a few weeks before that fateful night on the19th December 1981, has created this work as a musical homage to the bravery of the souls who lost their lives and has dedicated it to their memory. Penlee was commissioned by the Cornwall Youth BrassBand using funds bequeathed by Michael Pickett. The first performance was given by the Cornish Youth Brass Band, conducted by Ian Porthouse, at St. Michael's Church, Newquay, on 30th December 2008.Penleehas been voted into the Classic FM Hall of Fame 2011 at No.106. Not only is it the first time a brass work has been featured in the Hall of Fame, but it was also thehighest new entry. The work has subsequently been recorded by the Leyland Band, conducted by Jason Katsikaris, on the CD entitled Penlee.Brass Band Grade 4: Advanced Youth and 3rd Section Duration: 13 minutes
Estimated dispatch 5-14 working days
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£115.60Occurence - Haakon Esplo
Occurrence was written as a commissioned work for Randesund School Band in 2014. The symphonic work gives challenges for all instruments and is well suited to work with rhythm, intonation, sound and musicality. Percussion has a central rolein the piece with solo performances, and the beautiful middle part gives the band opportunity to demonstrate its ability to interpretation and musical understanding. Occurence is therefore well suited for competitions as well as concerts.
Estimated dispatch 5-14 working days
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£272.90Tuba Libre! - Lars Erik Gudim
Tuba Libre! was commissioned by Eirik Gjerdevik, Tubaist with the Norwegian Navy Band Bergen and also widely sought after as a soloist and conductor.The work is the first major work the composer wrote for Brass Band.Eirik Gjerdevik recorded the work on his album "Eirik the Viking", a recording which also feature Stavanger Brass Band conducted by Morten E. Hansen. The album was released by Lawo Classics in 2014 (LWC 1064).
Estimated dispatch 5-14 working days
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Diamonds - Jerry Lordan - Len Jenkins
In November 1962, ex-Shadows members Jet Harris and Tony Meehan decided to work as a duo and went to No 1 with a Jerry Lordan composition, "Diamonds". Harris, a bass player, took an ordinary Fender guitar and detuned every string a whole tone to enable him to hit notes which were lower than an ordinary guitar. However, it was apparently difficult to work with on stage since once the strings were slackened they would go out of tune very easily. The duo went on to have a second Top 10 hit with "Scarlett O'Hara" which is also available from Wobbleco Music in an arrangement for brass band. Both arrangements seek to capture the characteristic style of 60's rock music and retain the signature drum solos for which they are rightly remembered. But in addition, both pieces also appeal to a younger generation who may not have heard the originals. Our young kit drummer in Woburn Sands 'A' Band commented "...the (drum) part has the slightest shuffle feel to it, which improves the groove of the song, and to replicate the vintage snare-drum sound, I have heard that you can place a towel or a cloth over the head of the drum. I think it would work well...(otherwise) the drum part stays relatively simple and repetitive"...Chance to re-create the sound of the 60's.....Go for it!
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£60.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£72.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£40.00Trittico (Score only) - James Curnow
Trittico was commissioned by the Swiss Brass Band Association for their national championships in 1988. A trittico is a tripych or group of three paintings or musical compositions based on a common theme and presented or performed together. The present work is a set of three extended variations on the American shaped-note hymn Consolation. The work opens in grand style with motives based on intervals of the hymn tune. The opening motif, and smaller fragments of it reappear throughout the piece and serve as an underlying element alongside the theme itself. The first variation is essentially a scherzo which echoes the minor mood of the theme. The hemiolic opposition of compound and duple time is used to good effect and, again, the main motif is never far away. This is music with energy and forward movement. The second variation gives the soloists a chance to shine. The mood is tranquil, yet there is always some activity and the musical material pre-echoes the third variation. The third variation is another scherzo-like section, the main theme accompanied by a rhythmic ostinato. Toward the conclusion there is a short aeleatoric passage - a variation within a variation allowing half the band to make their own variaitions in a cachophony of sound. An energetic coda draws together several elements to round off a work brim full of drive, energy, and self-propelled enthusiasm. Duration: 13:30
Estimated dispatch 7-9 working days
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£50.00Trittico (Parts only) - James Curnow
Trittico was commissioned by the Swiss Brass Band Association for their national championships in 1988. A trittico is a tripych or group of three paintings or musical compositions based on a common theme and presented or performed together. The present work is a set of three extended variations on the American shaped-note hymn Consolation. The work opens in grand style with motives based on intervals of the hymn tune. The opening motif, and smaller fragments of it reappear throughout the piece and serve as an underlying element alongside the theme itself. The first variation is essentially a scherzo which echoes the minor mood of the theme. The hemiolic opposition of compound and duple time is used to good effect and, again, the main motif is never far away. This is music with energy and forward movement. The second variation gives the soloists a chance to shine. The mood is tranquil, yet there is always some activity and the musical material pre-echoes the third variation. The third variation is another scherzo-like section, the main theme accompanied by a rhythmic ostinato. Toward the conclusion there is a short aeleatoric passage - a variation within a variation allowing half the band to make their own variaitions in a cachophony of sound. An energetic coda draws together several elements to round off a work brim full of drive, energy, and self-propelled enthusiasm. Duration: 13:30
Estimated dispatch 7-9 working days
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