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  • £35.00

    SEA PICTURES (Brass Band Parts only) - Sparke, Philip

    Parts only. An atmospheric and descriptive work, Sea Pictures is in three sections. The quiet but very difficult opening describes the sea at dawn when all is still save for the cries of the early-morning gulls and deep movements of the sea itself. The sun rises and the next section pictures it glistening and sparkling on the waves. A school of playful dolphins passes. As they swin into the distance we are alone again with the sun and the waves. But there are distant rumblings; from far away a storm approaches. Cool breezes disturb the surface of the sea as it clouds over. And then the storm is upon us, turning the sea into the most awful force in all nature. Then, as suddenly as it had begun, it abates, leaving the sea once again serene in sunlight. All is calm but, as the work fades to a close, distant claps of thunder remind us that we are always at the mercy of the power and ficklesness of nature. Championship section. Duration 20:13

    Estimated delivery 12-14 days
  • £45.00

    SEA PICTURES (Brass Band Score only) - Sparke, Philip

    Score only. An atmospheric and descriptive work, Sea Pictures is in three sections. The quiet but very difficult opening describes the sea at dawn when all is still save for the cries of the early-morning gulls and deep movements of the sea itself. The sun rises and the next section pictures it glistening and sparkling on the waves. A school of playful dolphins passes. As they swin into the distance we are alone again with the sun and the waves. But there are distant rumblings; from far away a storm approaches. Cool breezes disturb the surface of the sea as it clouds over. And then the storm is upon us, turning the sea into the most awful force in all nature. Then, as suddenly as it had begun, it abates, leaving the sea once again serene in sunlight. All is calm but, as the work fades to a close, distant claps of thunder remind us that we are always at the mercy of the power and ficklesness of nature. Championship section. Duration 20:13

    Estimated delivery 12-14 days
  • £64.95

    Benvenuto Cellini - Score and Parts - Hector Berlioz

    One of Berlioz's ill-fated operas, Benvenuto Cellini was first produced at the Paris Opera in September 1838. It was withdrawn as a failure after only four performances. Neither did the solitary performace given at Covent Graden some fiftenn years later, in the presence of Queen Victoria and Price Albert, meet with any greater success. But when in 1888 it was produced at Dresden it was acclaimed by the Germans as a triumph. The Carl Rosa Opera did much to revive interest in the work.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.Berlioz must have been well pleased with this opera despite its ealy failure. Not only did he include in the overture several of its themes - a not unusual pracitce - but he fashioned another overture with its material as well - the great Le Carnaval Romain.The short opening Allefro marked deciso con impeto is conceived in the most brilliant Berlioz manner, utilizing 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 adaption of Teresa's aria (Act 1). Towards the end, the 'Cardinal'theme is re-introduced by trombone fortissimo against an energetic florid cornet and euphonium passage (seneza 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 cresendo on the dominant, begun piano, leads to the final long, resounding chord.

    Estimated delivery 12-14 days
  • £29.95

    Benvenuto Cellini - Score Only - Hector Berlioz

    One of Berlioz's ill-fated operas, Benvenuto Cellini was first produced at the Paris Opera in September 1838. It was withdrawn as a failure after only four performances. Neither did the solitary performace given at Covent Graden some fiftenn years later, in the presence of Queen Victoria and Price Albert, meet with any greater success. But when in 1888 it was produced at Dresden it was acclaimed by the Germans as a triumph. The Carl Rosa Opera did much to revive interest in the work.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.Berlioz must have been well pleased with this opera despite its ealy failure. Not only did he include in the overture several of its themes - a not unusual pracitce - but he fashioned another overture with its material as well - the great Le Carnaval Romain.The short opening Allefro marked deciso con impeto is conceived in the most brilliant Berlioz manner, utilizing 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 adaption of Teresa's aria (Act 1). Towards the end, the 'Cardinal'theme is re-introduced by trombone fortissimo against an energetic florid cornet and euphonium passage (seneza 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 cresendo on the dominant, begun piano, leads to the final long, resounding chord.

    Estimated delivery 12-14 days
  • £43.00

    La Perla Negra (Brass Band - Score and Parts) - Skinner, Colin

    For this brooding piece the composer has used the following storyline. "A sad elderly man sits alone in a bar whilst an accordionist plays a slow tango. A beautiful woman walks in wearing a single black pearl necklace and proceeds to dance with the old man. Gradually the music becomes more and more spirited and the dance faster as the old man becomes youthful again. With a passionate kiss he passes out in the girls arms and when he awakens he is back in the bar alone save for the accordionist. As he contemplates his dream he notices a single black pearl left behind on the bar. The sombre mood is lightened in the middle section by a deliberately trite and vibrato fuelled section, but we soon return to the opening material for a slow fade-out" Composer Colin Skinner wrote this piece especially for Superbrass' debut CD, Under the Spell of Spain. Duration: 6.30. Suitable for 2nd Section Bands and above.

    Estimated delivery 12-14 days
  • £43.00 £43.00
    Buy from Superbrass

    La Perla Negra

    For this brooding piece the composer has used the following storyline. “A sad elderly man sits alone in a bar whilst an accordionist plays a slow tango. A beautiful woman walks in wearing a single black pearl necklace and proceeds to dance with the old man. Gradually the music becomes more and more spirited and the dance faster as the old man becomes youthful again. With a passionate kiss he passes out in the girls arms and when he awakens he is back in the bar alone save for the accordionist. As he contemplates his dream he notices a single black pearl left behind on the bar. The sombre mood is lightened in the middle section by a deliberately trite and vibrato fuelled section, but we soon return to the opening material for a slow fade-out” Composer Colin Skinner wrote this piece especially for Superbrass’ debut CD “Under the Spell of Spain”.Duration: 6.30 minutesPercussion: 4 players playing drum kit, maracas, xylophone, triangle, tambourine, glockenspiel, claves, castanets and marimba.Grade 3: Medium 1st and 2nd Section Bands

  • £64.95

    Suite from Gloria - Karl Jenkins - Arranged & Edited Childs & Wainwright

    "The Latin text of the Gloria is an ancient hymn of praise from the Christian tradition derived from the song of the angels who announce the birth of Jesus, as recorded in the Gospel according to St Luke. The Gloria has formed part of the Ordinary of the Mass for many centuries, and in that context has been set by many composers; there are also independent settings by Handel, Vivaldi and Poulenc. But the opportunity to work with such an iconic text also afforded me an opportunity to explore how other religions perceive the Divine. This is an ongoing feature of my work, from the multi-faceted The Armed Man: A Mass for Peace, the Japanese haiku in my Requiem to the ancient Arabic text in my Stabat Mater.” Karl Jenkins, June 2010Originally scored for choir, orchestra and ethnic percussion, Karl Jenkins’ Gloria received its world premiere on November 7th 2010 at the Royal Albert Hall, and was recorded in the same year by the National Youth Choir of Great Britain and the London Symphony Orchestra conducted by Karl Jenkins.This version for brass band and percussion was arranged and edited by Andrew Wainwright and Robert Childs, and received its premiere on November 16th 2014 at The Sage Gateshead performed by the Grimethorpe Colliery Band conducted by Robert Childs.The work is in five movements: I. The Proclamation: Gloria in Excelsis DeoThe Proclamation begins with a rousing fanfare featuring antiphonal cornet choirs, before unison plainchant introduces melodic lines for solo cornet flugel horn and tutti band. The movement closes with a return to the fanfare style. II. Prayer: Laudamus tePrayer is typical of Karl Jenkins; serenely beautiful and lyrical in style. This movement features various soloists and works well in isolation. III. The Psalm: Tehellim - Psalm 150The Psalm is vibrant and high paced featuring ethnic style percussion. Virtuosic in nature the movement also makes use of the antiphonal cornet choirs.IV. The Song: I’ll Make MusicThe Song represents the ‘Golden Section’ of the suite and is presented here as a cornet solo. Like Prayer, this heavenly music is also effective as a stand alone concert item.V. The Exaltation: Domine Deus The Exaltation follows the same form as The Proclamation. With a lyrical middle section featuring solo horn, flugel and solo cornet, the start and finish make use once again of brilliant antiphonal cornet choirs.Suite from Gloria can be heard on 'Grimethorpe Entertain' CD available to buy here.

    Estimated delivery 3-5 days