Results
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£39.50Edward Gregson: Fanfare for a New Era (for Brass Band)
DescriptionComposer's NoteThe Fanfare has been designed to be partly antiphonal, with four separate brass 'choirs' initially playing their own music, and so some spatial separation is desirable. Soprano and solo cornets should be placed centrally, standing behind the rest of the band - or in some venues could even be placed off-stage in a side balcony, but still close to the band. If the Fanfare is played by a contesting size band, one of the solo cornets should play the 1st cornet part together with the usual player ie the number of players on the 1st, 2nd, and 3rd cornet parts should be equal. Otherwise the number of players in each of the two cornet 'choirs' is at the discretion of the conductor. The Tubular Bells accompanying the cornets 1-3 group should be placed close to that group. See inside back cover for suggested band formation.The style of playing should replicate that of symphonic brass, with a minimum of vibrato and with long notes being sustained without decaying.Programme NoteCommissioned in 2020 by Youth Brass 2000, Fanfare for a New Era was designed to be partly antiphonal - thus the separation of the band into four brass 'choirs', each with their own percussion accompaniment. First, soprano and solo cornets, rather like heraldic trumpeters, announce the main idea, majestic in character. Then horns, baritones, and euphoniums, with timpani, enter with stately figurations. Next, the heraldic trumpeters usher in trombones and tubas, to the accompaniment of tom-toms and snare drum, presenting a faster and rhythmic dance-like theme. Finally, the remaining cornets amplify the pealing of bells. All four elements then come together, surrounding the audience with a 'joyful noise' of festive brass and percussion.The original symphonic brass version of this fanfare can be purchased as part of a set of Three Fanfares HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£20.00Edward Gregson: Music of the Angels, for Symphonic Brass and Percussion
DescriptionProgramme NoteMusic of the Angels is a dramatic work of some 16 minute's duration, scored for a large symphonic brass ensemble, including seven trumpets, and percussion. The percussion section deploys 'dark' instruments such as three tam-tams, a bass drum and two sets of timpani.The title of the work is based on a quotation from the Book of Revelations:And I saw the seven angels which stood before God; and to them were given seven trumpetsThus, the idea behind the work is a dramatic one and the composer has emphasised this by the partial spatial arrangement of the ensemble, with six solo trumpets standing centre stage, but behind the main ensemble, and the seventh trumpet off-stage throughout.The work opens with a four-note motif, dominant throughout the work, announced initially by four off-stage horns and answered by fanfare figures on four solo trumpets. Then in turn each of the first four solo trumpets announce their own cadenzas before joining together, independently playing their own music. This reaches an intense climax before subsiding into slow music which might be described as a Kyrie eleison - a lament for humanity - a cantilena for flugel horn and euphonium, accompanied by trombones. The drama soon returns with the entry of trumpets 5 and 6, playing music that is fast, more urgent and foreboding, and describing in musical terms the horsemen of the Apocalypse.At the climax of this section trumpet 7 enters dramatically, representing the words of the seventh angel ... and time shall be no more. The opening four-note motif is here transformed into a cadenza of epic proportions, to the partial accompaniment of three tam-tams (representing the Holy Trinity). The ensuing scherzo, scored for the ensemble, is fast and furious, but despite the somewhat desolate mood of this music (briefly interrupted by the re-appearance of trumpet 7), it slowly moves towards a more optimistic conclusion, transforming the 'lament for humanity' music into an affirmative and triumphant climax.This work has been commercially recorded on a critically acclaimed CD from London Brass on the Chandos label, available HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£120.00
Myte - Torstein Aagaard-Nilsen
Commissioned by Radoy Brass for their 20 years anniversary.This version was first performed by Manger Skulemusikklag in 2005.The Work is devided into Five Scenes:1. Sverdet (The Sword) 3:452. Advarsel - fra en vis mann (Warning - from a Wise Man) 2:303. Dragen (The Dragon) 3:004. Advarsel II - fra syngende fugler (Warning II - from singing birds) 1:355. Gull - forbannelsen (Gold - The Curse) 2:50Total durata 13:30This work is based on five scenes from the tale about "Sigurd Favnesbane" (Sigurd the dragonslayer). Moods and atmospheres in the piece represent my way of retelling the old myth.1. The SwordThe dwarf blacksmith Regin is hammering and sharpening the edges of the magical sword Gram. After three attempts the sword is finally sharp enough to kill a dragon. 2. Warning - from a Wise manRichard Wagners opera Sigfried is based on the same story. In the opera the hero get warned by a wise man. He tells the secret of how to survive an attack of the dragon by hiding in a hole in the pathway and then kill the dragon with the sword as the dragon passes on its way to the river to drink water.3. DragonThe Dragon (Favne) guards a fantastic treasure, but he is also the brother of the blacksmith Regin. Favne get killed and his blood flows slowly while he laments (trombone/bass trombone).4. Warning II - from singing birdsWhile frying the heart, Sigurd burns his thumb and put it into his mouth to cool it down. Then he swallow a drop of fresh magic dragon blood which transfers the ability to understand the birdlanguage. The birds sing warnings to Sigurd telling him that Regin will betray him and later kill him. Sigurd then kills Regin instead.5. Gold - the CurseSigurd takes the gold treasure and escapes on the horseback of Grane. But his robbery of the gold lead him into trouble: The gold is banned and a curse will hit everyone whotakes it...Myth is a programmatic work where the story is quite clearly illustrated throughout the piece:In the first movement you can hear the blacksmith working with hammer on ambolt while the heat is intense from the glows. The dwarf has got his own theme i lower brass (bar 4-5). The hero Sigurd has his own identifying chord (2 bars before F). The chord is also a symbol of the sword.In the second movement the warning from the wise man is expressed in the lyric bass line.The airblow in instruments illustrate the dragon Favne on his way out of his cave, and later the blood flows slowly. The dragon takes his last deep breath after a painful duet in trombones. The birds sing their motifs (lightly, but not cheerful though), until Sigurd cuts the head off Regin and it hits the ground.The last movement describes the atmosphere andstate of mind as the curse infects the obsessed thief.
Estimated dispatch 12-14 working days
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£28.50Kronos - Richard Rock
This piece portrays the character of Kronos. Kronos is a character taken from Greek Mythology, a Titan God, who killed his own father, Uranus, in his lust for power and who also tried to kill his own offspring upon learning from an oracle that one of his children would overthrow him....
Titles No Longer Available
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£45.00The Pilgrim - Josiah Walters
Josiah describes his composition'The Pilgrim' as a journey of development and emotion, encompassing three key stages of emotional state: from the opening sounds which are full of anticipation and uncertainty, through to a passage of disillusionment and frustration, then moving on to a concluding stage which reintroduces the positive elements of the opening optimism, yet closing quietly, symbolizing an inner peace and contentment at the end of the musical journey.The composer's emotive approach to the creation of the work embraces a wealth of passion, anguish and enlightenment. Through his use of imaginative melody, themes and harmonic texture, Josiah has represented a collection of powerful emotions. Essentially non-programmatic, the piece opens in a contemplative manner, building with enthusiasm, and first introducing the use of bells and bell effects as a musical metaphor which is used throughout the piece to signify the journey's destination.As the sentiment continues, the music evolves in to an Allegro Furioso section, opening up a strong sense of frustration. At this section's climax, the symbolic use of the bells is reintroduced to create an over-tone of hope and purpose, although this does not last long as they fade into the Misterioso Molto Rubato section.As the melodies and harmonies develop onwards, 'The Pilgrim' evolves into a more reflective phase, reintroducing the sounds and motifs of the more strident opening.This closing section symbolizes the realisation that everything needed was already available to The Pilgrim, but travelling the journey, confronting and overcoming all of the challenges was the only route of discovery - peacefulness prevails, bringing the work to a close with a sense of contentment and enlightenment.'The Pilgrim', highly emotive in its creation, offers a wealth of musical imagery.Even to the uninformed listener, this fascinating, powerful and beautiful work stirs and stimulates a variety of emotional reactions - offering each listener an opportunity to apply the music to their own journey, their own personal pilgrimage.
Estimated dispatch 7-14 working days
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£30.00
Three Pieces from Czechoslovakia - Leos Janacek
This is the music of Leos Janacek (1854-1928) - exciting, powerful, emotive, impassioned, unpredictable, and many other definitions all rolled into one! Janacek was little known in Britain until the 1960's, when the conductor Charles Macherras introduced his unique music and opera to the western audience. His orchestral Sinfonietta was an instant hit. Janacek has since been one of the featured composers in the 'Proms'.The three pieces which I have arranged for brass band are INTRODUCTION, ORGAN SOLO and INTRADA from Janacek's Glagolitic Mass. They work equally well together or on their own, as they each have their own identity. They can be purchased together or separately.1. INTRODUCTIONA great 'starter' for the first or second half of a concert. 2. ORGAN SOLOThis is a 'must' if you want to impress your audience - every section of the band is incredibly busy, (although they can be assured that they do have time to breath)! 3. INTRADAThis piece, (and no.1 "Introduction"), both contain that 'fanfare' like quality which Janacek is famous for in his Sinfonietta.
Estimated dispatch 7-14 working days
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£83.00
A Bournemouth Suite - Benjamin Tubb
Bournemouth Suite was written by Benjamin Tubb in 2005, when the composer was just 17 years of age. After spending many school holiday weeks with his grandparents in the coastal town of Bournmouth, it was obvious that these experiences would make a great basis for a composition.This testpiece is split into three separate movements: Balloon Ride, The Pier at Night and The BIC. Each movement has its own unique character, although there are ideas shared by all three throughout, one of which is the opening syncopation.Balloon RideThe First movement, Balloon Ride, describes a journey on "The Bournemouth Eye", a tethered hot air balloon that takes you up 500 feet. It's located in the middle of the town centre, which enables you to see surrounding countryside for up to 20 miles! The movement begins rather ominously as the balloon raises from the ground which leads into a more lively section caharacteresed by the repeating quavers in the lower brass and woodblock. The movement ends in much the same way as it started - signalling the return to terra firma.The Pier At NightDuring the summer there are several large firework displays in the town centre. The second movement, The Pier At Night descirbes an evening spent on the beach in deckchairs watching the montage of colours in the night-time sky. With demanding solos for horn and cornet, as well as exposed playing spread throughout the band, this slow movement will really test a band's expressive and lyrical playing.The 'BIC'The Bournemouth INternational Centre, also known as "The BIC" is one of Bournemouth's most visited attractions, and regularly hosts shows such as 'Riverdance' and pantomimes. Inside is a world of entertainment and the centre itself is just a stone's throw from both "The Bournemouth Eye" and the Pier. The 3rd movement has been written to describe the buzz of activity surrounding the BIC, and the entire works ends with the same syncopated motif from the beginning.A Bournemouth Suite was set as the 'set-test' at the Pontins Brass Band Championships 2009.
Estimated dispatch 7-14 working days
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£154.60Three Gentle Giants - Svein H. Giske
Three Gentle Giantswas commissioned by Grenland International Brass Festival as a test piece for the 2nd division in 2008.Three Gentle Giants. The three giants each have their own monologue which leads into a conversation. They gather recognition and respect from each others views as the dialogue evolves. Eventually they find a more nutual and singular expression to their conversation.The giants are old with a long life behind them. This can be heard through a slow, melancholic waltz. A waltz is dance commonly linked to festiveoccasions, such as weddings, but for the giants it holds much more significance. It gives room to think about people they have met, placesthey have been, and all that life has given them.Quietly it ends, more or less like it began. We hear echoes of the past, before it all fades out.The giants wander off into a new beginning.Svein H. Giske- January 2023 -In Memoriam Thorvald, Finn and Thor Louis
Estimated dispatch 5-14 working days
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£68.99Sarabande and Polka - Sir Malcolm Arnold
In 1956 Sir Kenneth MacMillan created a one-act ballet for the Sadler's Wells Theatre Ballet, London. He selected the music from the two sets of English Dances which Sir Malcolm Arnold had written in 1950 and 1951 to great acclaim. The composer wrote two new dances, a Sarabande and a Polka, especially for the ballet, which was premiered at Sadler's Wells Theatre in June 1956. The two new dances have taken on a life of their own in the concert hall and are typical Arnold: the Sarabande contains one of his most memorable melodies and the Polka shows him at his quirky, tongue-in-cheek best.
Estimated dispatch 5-14 working days
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£159.99Other Lives - Oliver Waespi
Other Lives is works perfectly for a competition but can also be programmed as concert work. The dark chords at the beginning of the piece are derived from "Der Doppelganger", one of Franz Schubert's late songs. After a short development the music begins to accelerate and find its own shape, gradually moving away from the introduction. The entire first part, "Rage", has an intensely agitated character. The ensuing "Reflection" turns back to the initial chord progression, before a series of interspersing solos explore time and space at a slower pace. After another musical surge, the music is brought close to silence and then gives way to the third part, "Redemption".Here, a widely spaced sound field contains a remote allusion to another work by Schubert "Ruckblick". After this farewell, an abstract musical transformation triggers an emotional change, as the initial motifs are now presented in their inversed form in order to create a much brighter harmonic landscape. Moreover, in the last part of the piece, "Renewal", the grim, tense atmosphere of the first part is transformed into a great energy. Other Lives was commissioned by the Valaisia Brass Band.
Estimated dispatch 5-14 working days
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