Results
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£57.50Aria (Tenor Horn Solo with Brass Band - Score and Parts)
Aria was commissioned by and written for the remarkable tenor horn player, Sheona White. The work opens with an accompanied recitative, which leads to a change of key where the main melody is presented. This, in turn, serves as an introduction to another melodic idea, marked calmato. The band takes up this theme and then takes centre stage with a passionate repeat of the main theme, which is completed by the soloist. A cornet then plays the calmato theme against which the soloist plays a counter melody. This leads to a return of the opening recitative which brings the work to a peaceful close. A fantastic new addition to the solo repertoire for this much neglected solo instrument.Duration: 6:00
Estimated dispatch 7-14 working days
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£53.50You'll Never Walk Alone (Brass Band - Score and Parts) - Hammerstein & Rodgers - Foster, Larry
This great football anthem (don't be put off if you are not a Liverpool supporter!) was originally featured in the Rogers and Hammerstein musical Carousel, however it was made famous worldwide when it was sung against the background of the Eiffel Tower to close the 1998 World Cup. It can now be performed by your band, with or without football scarves, to end your concert on a winning note.Duration: 3:20
Estimated dispatch 7-14 working days
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£94.95Facets of the Heart (Brass Band - Score and Parts) - Davoren, Tom
2015 Butlins Championship Section Testpiece.Facets of the Heart was created during a turbulent period of the composers life. The concept behind it changed between inception and completion. The result is a musical representation of three lesser considered but extremely important aspects of love, set against their natural opposites. Running in three continuous sections, the chosen aspects are Fear, Pain and Comfort, and Doubt and Courage.Duration: 14 mins.
Estimated dispatch 7-14 working days
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£49.95Facets of the Heart (Brass Band - Score only) - Davoren, Tom
2015 Butlins Championship Section Testpiece.Facets of the Heart was created during a turbulent period of the composers life. The concept behind it changed between inception and completion. The result is a musical representation of three lesser considered but extremely important aspects of love, set against their natural opposites. Running in three continuous sections, the chosen aspects are Fear, Pain and Comfort, and Doubt and Courage.Duration: 14 mins.
Estimated dispatch 7-14 working days
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£59.99
My Heart Will Go On (Brass Band - Score and Parts)
With the first notes of this arrangement, everyone who has seen the film Titanic will remember seeing the pictures of this moving love story against those of the dreadful disaster. 02:44
Estimated dispatch 7-14 working days
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£119.95SWIFT SEVERN'S FLOOD (Brass Band - Score and Parts) - Clarke, Nigel - Vertommen, Luc
Swift Severn's Flood is in one movement and is both heroic and brooding in nature. The work requires great virtuosity with fast, furious running passages juxtaposed against extreme dynamic contrasts. Duration: 13:30
Estimated dispatch 7-14 working days
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£49.95
SWIFT SEVERN'S FLOOD (Brass Band - Score only) - Clarke, Nigel - Vertommen, Luc
Swift Severn's Flood is in one movement and is both heroic and brooding in nature. The work requires great virtuosity with fast, furious running passages juxtaposed against extreme dynamic contrasts. Duration: 13:30
Estimated dispatch 7-14 working days
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£44.95The Great Race (Euphonium Solo with Brass Band - Score and Parts)
Finale from In League with Extraordinary GentlemenThe Great Race, for solo euphonium and band, follows Phileas Fogg on the last stage of his epic journey "Around the World in Eighty Days" (from the novel by Jules Verne). The moto perpetuo nature of the music gives full rein to the soloist's technical virtuosity. As the work draws to a conclusion, the frantic scramble by Fogg to meet his deadline at the Reform Club in Pall Mall, London, is echoed by the soloist's increasingly demanding ascending figuration, set against the background of Big Ben clock chimes.
Estimated dispatch 7-14 working days
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£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
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£82.95Benvenuto Cellini (Brass Band - Score and Parts) - 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
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