Results
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£34.95
Concert Piece (Morceau Symphonique) (Trombone Solo with Brass Band - Score and Parts)
Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.
Estimated dispatch 7-14 working days
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£17.50
Concert Piece (Morceau Symphonique) (Trombone Solo with Brass Band - Score only)
Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.
Estimated dispatch 7-14 working days
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£34.95
CONCERT PIECE (Morceau Symphonique) (Trombone Solo with Brass Band Set) - Guilmant - Ray Steadman-Allen
Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.
Estimated dispatch 7-14 working days
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£38.95Unity Series Band Journal - Numbers 498 - 501, October 2021
498: Prelude - Armageddon (Munashe Chikwezvero)This prelude to worship is based on the tune Armageddon (T.B. 181) and features the well-known hymn Who is on the Lord's side? (S.A.S.B. 992) by Frances Ridley Havergal499: Joshua (William Gordon)An easy-listening swing setting of the spiritual Joshua fought the battle of Jericho.500: Trombone Solo - O save me, dear Lord! (Erik Silfverberg)This devotional setting of the song I bring thee my cares and my sorrows by General Evangeline Booth, is scored here as a trombone solo.501: This is my desire (Gavin Lamplough)Meditative music based on two popular worship songs, Reuben Morgan's This is my desire (S.A.S.B. 397) and Martin Smith's Thank you for saving me (S.A.S.B. 477).
Estimated dispatch 7-14 working days
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£12.00The World Rejoicing (Brass Band - Study Score)
In searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Crger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days
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£70.00General Series Band Journal August 2016 Numbers 2158 - 2161
No. 2158 Prelude - My God and King! (Paul Sharman)Based on the hymn tune 'Luckington', this music is a paean of praise to the Lord of all creation.No. 2159 A Christmas overture (Kevin Larsson)An exciting collection of well-known Christmas carols, originally written as a concert opener.No. 2160 March - A voice from above (Eiliv Herikstad)This march refers to a number of Christmas carols. It starts with four bars of 'Hark! the herald angels sing' followed by fragments of 'Joy to the world!' before James R. Murray's 'Den himmelske lovsang' is presented in full. 'Come children, come quickly' requires legato playing from the lower band.No. 2161 In God we trust (Ralph Pearce)Although the title derives from the United States of America's much-neglected motto, the music is a journey through to total trust in God and our Lord Jesus Christ. The tunes featured are 'In thee, O Lord, do I put my trust' leading to 'Trust in God'. Increasingly calm music leads to the more recent song 'In Christ alone, I placed my trust'. The music ends with a brief reference to 'In Thee, O Lord, do I put my trust' now in a mood of calm assurance.
Estimated dispatch 7-14 working days
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£29.95
The Land of the Long White Cloud (Score Only)
Dating from 1979, The Land of the Long White Cloud (Aotearoa) was Philip Sparke's first test-piece. It was commissioned by the New Zealand Brass Band Association for their 1980 National Championships (their centenary year) and set for the European Brass Band Championships, the same year, at the Royal Albert Hall in London. Aotearoa was the name given to New Zealand by its Polynesian settlers whose first sight of the islands was a long, flat cloud lying low over the land. The work has no specific programme although many have seen pictures of the surging ocean in the opening bars. A faster dance-like section leads to a slow, haunting solo for soprano cornet; this is taken up by the whole band before earlier material returns. The dance-like tune is, this time, given a fugal treatment and the opening bars return to close the work.Philip Sparke was born in London and studied composition, trumpet and piano at the Royal College of Music, where he gained an ARCM. It was at the College that his interest in bands arose. He played in the College wind orchestra and also formed a brass band among the students, writing several works for both ensembles.At that time, his first published works appeared - Concert Prelude (brass band) and Gaudium (wind band). A growing interest in his music led to several commissions, his first major one being this featured piece for the Centennial Brass Band Championships in New Zealand - The Land of the Long White Cloud. He has written for brass band championships in New Zealand, Switzerland, Holland, Australia and the UK, including three times for the National Finals at the Royal Albert Hall.In September 2000, he was awarded the Iles Medal of the Worshipful Company of Musicians for his services to brass bands and in 2005 Music of the Spheres won the National Band Association/William D. Revelli Memorial Band Composition Contest. In 2011, he received the BUMA International Brass Award for his contribution to brass music.His conducting and adjudicating activities have taken him to most European countries, Scandinavia, Australia, New Zealand, Japan, Taiwan, South Korea, Canada and the USA. In May 2000, he took the major step of becoming a full-time composer by founding his own publishing company, Anglo Music Press. The company is devoted to publishing his brass band, concert band, fanfare band and instrumental publications as well as recordings dedicated to his latest works.
Estimated dispatch 7-14 working days
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£30.00Russian Rag - George L Cobb, Sandy Coffin
Interpolating the world famous"Prelude" by RachmaninoffCommissioned by John Wallace, this arrangement of Russian Rag has been crafted by Sandy Coffin through close listening of the available recordings of the Harlem Hellfighters Band. Sandy had been heavily involved with the Historic Brass Society symposium 2017 held in New York and assisted John with his research on this fascinating band and the style of music it generated.Eye-witness accounts refer to the 369th band 'dancing' rather than 'marching'. Above all, in modern performance, finding a 'dancing beat' is crucial to a successful performance of this Ragtime march in order to do justice to the great pioneering work of James Reese Europe. Note the cheeky virtuosity and rubato!Look and Listen (courtesy of Tullis Russell Mills Band):Background to the Harlem HellfightersThe US Army 369th Regiment, made up largely of African-Americans from New York, became known as the Harlem Hellfighters because of the heroic reputation which accrued to them during the actions they engaged in during the First World War in Europe.James Reese Europe was one of the most active African-American composer/musical directors in the pre-war American music scene. The legendary Harlem Hellfighters Band, which he assembled in 1917 from African-American and Puerto Rican musicians, came at an important transitional point in musical history. A new form of music called jazz was emerging from Ragtime and the performing style of Europe's band was immersed in the flow of this new direction.Europe's Harlem Hellfighters influenced and inspired everyone who heard them, including the welcoming crowd when they disembarked in France, bowled over by their swinging rendition of La Marseillaise. Reese Europe became a war hero, commanding a machine-gun unit as well as the band.On return from War in 1919 the band led a ticker-tape parade along Fifth Avenue in New York and soon made about 30 shellac recordings. These recordings display some of the fingerprints of their performing style: ragging, improvising, muting, wailing, smearing (their word for glissando) - and from the evidence of their recordings they took the printed page as a blueprint for individuality.In May 1919 during the Hellfighters' triumphant coast-to-coast tour after their return, James Reese Europe was tragically murdered, bringing to premature close, at the age of 39, the work of a great musical innovator.
Estimated dispatch 7-14 working days
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£40.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 5-7 working days
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£50.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 5-7 working days