Results
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£99.99The 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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£24.95
David Of The White Rock (Cornet Solo with Brass Band - Score and Parts)
This melody is reputed to have originated in Caernarvonshire, North Wales. Tradition holds that a bard called David, lying on his deathbed, called for his harp and performed this plaintive tune, expressing a desire that it should be played at his funeral. Ever since the tune has been called by his name and that of his house 'Garagwen' ('Druid Stone' or 'White Rock'). The solo is not just a slow melody with brass band accompaniment but is a composite whole, the band needing as much sensitivity as the soloist in the presentation.
Estimated dispatch 7-14 working days
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£12.50
David Of The White Rock (Cornet Solo with Brass Band - Score only)
This melody is reputed to have originated in Caernarvonshire, North Wales. Tradition holds that a bard called David, lying on his deathbed, called for his harp and performed this plaintive tune, expressing a desire that it should be played at his funeral. Ever since the tune has been called by his name and that of his house 'Garagwen' ('Druid Stone' or 'White Rock'). The solo is not just a slow melody with brass band accompaniment but is a composite whole, the band needing as much sensitivity as the soloist in the presentation.
Estimated dispatch 7-14 working days
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£76.99Summon the Heroes (Brass Band - Score and Parts) - Williams, John - Sparke, Philip
John Williams has written ceremonial music for many major events and ceremonies but of all these occasional pieces Summon the Heroes is the most elaborate and musically complex. It was composed for the Atlanta Olympic Games in 1996 and performed at the opening ceremony. As with all of John Williams's ceremonial compositions this work makes an ideal brass band work that will bring the house down as a concert opener.Duration: 6:20
Estimated dispatch 7-14 working days
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£54.99Country Roads (Brass Band - Score and Parts) - Ocean, Johny
Performed by John Denver and Hermes House Band. Duration: 03:15
Estimated dispatch 7-14 working days
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£84.99Pacific Dreams (Brass Band - Score and Parts) - De Haan, Jacob
Pacific Dreams describes the experience of Miguel, a travelling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this old colonial neighbourhood, he discovers a print of William DeShazos painting "Pacific Dreams" Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrow streets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters around Sydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan of Hawaiian music. Maybe he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of "Pacific Dreams", he boards the Metro at Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose! Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, he wants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasising about Hawaii and Tahiti. Andante Lamentoso : In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his "Pacific Dreams". Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is travelling on to Hawaii. Or is it home, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.Duration: 9.15
Estimated dispatch 7-14 working days
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£25.00LES MISERABLES TRILOGY (Brass Band) - Hackett, Matthew
Includes: Master of the House, Red and Black, One Day More
Estimated dispatch 7-14 working days
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£34.99Show Me (from My Fair Lady) (Brass Band - Score and Parts) - Lerner & Loewe - Freeh, Mark
The musical My Fair Lady (a book and lyrics by Alan Jay Lerner and music by Frederick Loewe), is based on George Bernard Shaw's Pygmalion. Show Me, arranged by Mark Freeh, is taken from Act II of My Fair Lady and is when Liza storms out of Higgins' house to stumble outside into Freddy. Freddy protests that he is in love with her, but Liza is sceptical and brushes him off.Suitable for Advanced Youth/3rd Section Bands and aboveDuration: 4.00
Estimated dispatch 7-14 working days
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£59.95The Plantagenets (Brass Band - Score and Parts) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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£29.95
The Plantagenets (Brass Band - Score only) - Gregson, Edward
A Symphonic Study for Brass BandThe Plantagenets was Gregson's first major test piece, written specially for the 1973 National Brass Band Championships.In this ambitious symphonic study he turned his attention to music which sets out to create a mood or atmosphere, in contrast to his earlier brass band works such as Essay and Partita where the underlying concerns are technical rather than expressive. However, Gregson is at pains to emphasise that The Plantagenets is not programme music. 'Symphonic' is the optimum word here. In its textural and harmonic complexity, its rhythmic and melodic variety, this was his most ambitious brass band piece so far. His language, with its roots in Hindemith and Bartok is further enriched here with the expressive language of Holst and Rachmaninov.As he says in his notes on the work: The Plantagenets attempts to portray the mood and feelings of an age - that of the House of Plantagenet which lasted from the middle of the twelfth century to the end of the fourteenth. To many it conjures up an age of chivalry and this is represented by fanfare motifs which occur throughout the work in varied form.Characteristically, the composer then goes on to describe not the atmosphere or mood he is trying to convey, but the means by which the music has been composed: the opening fanfares, based on the interval of the third, generating the musical material for the whole work; an exposition of two themes - one fanfare-like, one lyrical (on horns); a slow episode introducing a new melody on solo horn (answered by cornet and euphonium in canon); a little scherzo, fugal in character; and a recapitulation leading to a maestoso statement of the slow movement theme with a final reference to the fanfares as a triumphant conclusion.Duration: 11.30
Estimated dispatch 7-14 working days
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