Results
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£37.32The Vow (Brass Band) Andrew Wainwright
VIEW SCORE PDF A majestic processional in the spirit of Elsa's Procession to the Cathedral, this powerful work blends the heartfelt beauty of William Himes' worship song All That I Am with an original theme by Andrew Wainwright. The piece was originally written for the composer's wedding. The piece features expressive interplay between solo lines and rich accompaniment, offering performers a dynamic canvas to shape and build the music. Gradually expanding in depth and intensity, it culminates in a stirring and triumphant conclusion - ideal for sacred ceremonies, concert halls, or moments of solemn celebration. PDF download includes score and full set of parts. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com To view a video of the Southern Territorial Band performing the work please visit: www.youtube.com/watch?v=h2VUSKHMbho Difficulty Level: Second Section + Instrumentation: Soprano Cornet Eb Solo Cornet Bb 1st Cornet Bb 2nd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone 1st Euphonium Bb 2nd Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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£79.95The Lost Village of Imber (Brass Band - Score and Parts) - Bond, Christopher
The Lost Village of Imber was commissioned by Bratton Silver Band in 2019 in celebration of 160 years of the band; 1859-2019. Structured in three movements, the complete work was premiered by Cory Band at Wiltshire Music Centre in February 2020.The village of Imber on Salisbury Plain had been inhabited for over one thousand years when it was evacuated in 1943 to make way for military training in the Second World War. At the time, with preparations for the Allied invasion of Europe underway, most villagers put up no resistance, despite being upset, with the belief that they'd return once the war had concluded. To this day, Imber and its surrounding land remain a military training ground. The villagers never returned, and just the shell of what was once a community remains.Structured in three movements, it is on this very real story that the work is based, setting out the series of events of 1943 in chronological order.The first movement, On Imber Downe, portrays a sense of jollity and cohesiveness, a community of individuals living and working together before news of the evacuation had broken. Sounds of the village are heard throughout, not least in a series of percussive effects, the anvil of the blacksmith; the cowbell of the cattle and the bells of the church.The second movement, The Church of St. Giles, begins mysteriously and this sonorous, atmospheric opening depicts Imber in its desolate state and the apprehension of residents as they learn they have to leave their homes. Amidst this is the Church, a symbol of hope for villagers who one day wish to return, portrayed with a sweeping melodic passage before the music returns to the apprehension of villagers facing eviction around their sadness at losing their rural way of life.In complete contrast, the third movement, Imemerie Aeternum, portrays the arrival of the military, complete with the sounds of the ammunition, firing and tanks, sounds which were all too familiar to those living in the surround areas. To close, the Church of St. Giles theme returns in a triumphant style, representing the idea that the church has always been, even to this day, a beacon of hope for the villagers and local community, both the centrepiece and pinnacle of a very real story.Duration: 13.30
Estimated dispatch 7-14 working days
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£29.95
Paean (Brass Band - Score and Parts) - Bright, Dudley
Commissioned by the Swiss Christian Brass Band Association in celebration of their 150th anniversary, the title 'Paean' means a shout of thanksgiving and praise. It is also the composer's personal expression of gratitude to God following major surgery. Although 'Paean' includes three fairly contemporary Christian songs, it is not intended to be played in any kind of rock or jazz style. The idiom is quite firmly rooted in brass band tradition. The opening fanfare-like section begins in celebratory mood before becoming more contemplative through the song 'Father God, I wonder'. A change of tempo heralds the statement of the thematically significant song 'Hosanna' before immediately moving to 'Faithful God'. Following a fugato the music retraces its steps to a triumphant restatement of the opening music.
Estimated dispatch 7-14 working days
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£14.95
Paean (Brass Band - Score only) - Bright, Dudley
Commissioned by the Swiss Christian Brass Band Association in celebration of their 150th anniversary, the title 'Paean' means a shout of thanksgiving and praise. It is also the composer's personal expression of gratitude to God following major surgery. Although 'Paean' includes three fairly contemporary Christian songs, it is not intended to be played in any kind of rock or jazz style. The idiom is quite firmly rooted in brass band tradition. The opening fanfare-like section begins in celebratory mood before becoming more contemplative through the song 'Father God, I wonder'. A change of tempo heralds the statement of the thematically significant song 'Hosanna' before immediately moving to 'Faithful God'. Following a fugato the music retraces its steps to a triumphant restatement of the opening music.
Estimated dispatch 7-14 working days
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£32.00The Beacons (Score only) - Ray Steadman-Allen
For centuries hilltop beacon fires blazed across the land signals of important happenings or warnings of invasion. This music tells no specific story but the titles of the four thematically related sections are a guide to the idea: The Beacons; Far Horizons; The Invaders; Celebration. The first movement has something of the character of the march and the fanfare; spirited and tightly driving, it promises most of the thematic material of the work. The second is largelt tranquil and is thinly scores with solo passages. The third has the most dramatic potential; its energy and conflict subsides to a lament and a tolling bell before a vigorous rounding off. Appropriately, the fourth movement is in a merry-making mood, and the jubilant music concludes with fragment statements of the main themes. The Beacons was first performed by IMI Yorkshire Imperial Band (James Scott) at the 'Concert of the Century', celebrating the Centenary of the British Bandsman, at the Free Trade Hall, Manchester, on 5 September 1987. Duration: 12:30
Estimated dispatch 7-9 working days
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£42.00The Beacons (Parts only) - Ray Steadman-Allen
For centuries hilltop beacon fires blazed across the land signals of important happenings or warnings of invasion. This music tells no specific story but the titles of the four thematically related sections are a guide to the idea: The Beacons; Far Horizons; The Invaders; Celebration. The first movement has something of the character of the march and the fanfare; spirited and tightly driving, it promises most of the thematic material of the work. The second is largelt tranquil and is thinly scores with solo passages. The third has the most dramatic potential; its energy and conflict subsides to a lament and a tolling bell before a vigorous rounding off. Appropriately, the fourth movement is in a merry-making mood, and the jubilant music concludes with fragment statements of the main themes. The Beacons was first performed by IMI Yorkshire Imperial Band (James Scott) at the 'Concert of the Century', celebrating the Centenary of the British Bandsman, at the Free Trade Hall, Manchester, on 5 September 1987. Duration: 12:30
Estimated dispatch 7-9 working days
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£44.95
Fantasia on 'Glory to his Name' (Brass Band - Score and Parts) - Bright, Dudley
This Fantasia is a celebration of the work of Ray Steadman-Allen. Through most of his 92 years, his music has had a profound and wide-ranging impact on Salvation Army music. Always innovative, rather than stylistically stereotypical, his music has led the way forward for Salvationist composers. As the title suggests, his light-hearted 1960's vocal solo provides thematic material and highlights his motivation. There are also references to and quotations from several more of his pieces. Yet, although much of his music can be challenging, he has also given us music that speaks directly to the heart. His much-loved songs 'He giveth more grace' ('Blacklands') and 'Remember Me' are heard in humble and sincere tribute to a life dedicated to giving the glory to God through his music.
Estimated dispatch 7-14 working days
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£22.50
Fantasia on 'Glory to his Name' (Brass Band - Score only) - Bright, Dudley
This Fantasia is a celebration of the work of Ray Steadman-Allen. Through most of his 92 years, his music has had a profound and wide-ranging impact on Salvation Army music. Always innovative, rather than stylistically stereotypical, his music has led the way forward for Salvationist composers. As the title suggests, his light-hearted 1960's vocal solo provides thematic material and highlights his motivation. There are also references to and quotations from several more of his pieces. Yet, although much of his music can be challenging, he has also given us music that speaks directly to the heart. His much-loved songs 'He giveth more grace' ('Blacklands') and 'Remember Me' are heard in humble and sincere tribute to a life dedicated to giving the glory to God through his music.
Estimated dispatch 7-14 working days
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£95.00Variations on a Theme of Michael Tippett (Brass Band - Score and Parts) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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£40.00
Variations on a Theme of Michael Tippett (Brass Band - Score only) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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