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  • £35.00

    SYMPHONY No.1, Finale from (Brass Band) - Rachmaninov - Littlemore, Phillip

    Rachmaninov composed his First Symphony in 1895, at the age of just 22 years. It received its first performance on March 27, 1897, at a Russian Symphony Society concert in St. Petersburg with Alexander Glazunov conducting. The premiere was not well-received, and Rachmaninov himself blamed Glazunov for a lacklustre approach for beating time rather than finding the music. Some contemporary reports even suggested that Glazunov was inebriated when he took to the stage! Despite the disappointment of the premiere performance, Rachmaninov never destroyed the score but left it behind when he left Russia to settle in the West, eventually it was given up for lost. After the composer's death, a two-piano transcription of the symphony surfaced in Moscow, followed by a set of orchestral parts at the conservatory in Saint Petersburg. In March 1945, the symphony was performed in Moscow for the first time since its 1897 premiere. It was a grand success, and this led to a new and more enthusiastic evaluation of the symphony. In March 1948 it received a similarly successful American premiere and the work proceeded to establish itself in the general repertory. The final movement (Allegro con fuoco) is colourful and grand but not without its darkly contrasting, menacing episodes that intensifies its malevolence. It is a work overflowing with ideas demonstrating a strong, highly individual, and self-assured young talent. Duration: 5:40

    Estimated delivery 12-14 days

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  • £49.20

    WILLIAM TELL (Finale from the Overture) (Brass Band) - Howarth, John

    Medium/Advanced

    Estimated delivery 12-14 days
  • £35.00

    Swan Lake, Finale from - Tchaikovsky

    In stock: Estimated delivery 1-2 days
  • £35.00

    Finale from 'Symphony No.1' - Sergei Rachmaninov - Phillip Littlemore

    Rachmaninov composed his First Symphony in 1895, at the age of just 22 years. It received its first performance on March 27, 1897, at a Russian Symphony Society concert in St. Petersburg with Alexander Glazunov conducting. The premiere was not well-received, and Rachmaninov himself blamed Glazunov for a lacklustre approach for beating time rather than finding the music. Some contemporary reports even suggested that Glazunov was inebriated when he took to the stage! Despite the disappointment of the premiere performance, Rachmaninov never destroyed the score but left it behind when he left Russia to settle in the West, eventually it was given up for lost. After the composer’s death, a two-piano transcription of the symphony surfaced in Moscow, followed by a set of orchestral parts at the conservatory in Saint Petersburg. In March 1945, the symphony was performed in Moscow for the first time since its 1897 premiere. It was a grand success, and this led to a new and more enthusiastic evaluation of the symphony. In March 1948 it received a similarly successful American premiere and the work proceeded to establish itself in the general repertory. The final movement (Allegro con fuoco) is colourful and grand but not without its darkly contrasting, menacing episodes that intensifies its?malevolence. It is a work overflowing with ideas demonstrating a strong, highly individual, and self-assured?young talent. Iten Code: TPBB-027 Duration: 5'40"

  • £89.99

    Galactic Odyssey - Bartlett, Darren

    GALACTICODYSSEY-A Constellation Suite - Journey to the Stars 1) AQUILA - THE EAGLE(magnifico) In Greek mythology Eagles were used to represent an ascension up to the heavens. The opening stanza depicts the wonder of such miraculous acts. A sense of grandeur and of the magnificence of the universe should shine through.2) DRACO - THE DRAGON(con fuoco) The "Celestial pole" or "Seat of Judgement" was guarded by the celestial serpent, the constellation Draco. As the marking indicates, this section should be played "with fire" and exuberance. 3) CYGNUS - THE SWAN(cantabile con calore) Swans are known for their swan-song, it was believed that these birds of regal grace sang only once in their lifetime, just before they die. "To be swan-like" is to greet death with a song of exceptional beauty and calm acceptance. This should be played in a spirit of contemplation with pathos and warmth. 4) DELPHINUS- THE DOLPHIN(capriccio) Dolphins are well-known for their agility and their capricious behaviour; many species will leap out of the water to view their surroundings. This 2nd Century by the astronomer Ptolemy. In this section the marimba emulates the sound of water along with the rain-stick; the rhythm of the raindrops must come through. This is followed by a more melancholic melody which should be played sweetly but sorrowfully; the impact of the elements leading to inward reflection. 6) ORION - THE HUNTER(minaccioso) The scoring here aims to suggest menace and conjures up the threat of the hunt. Bar 10 should be played with edge from the Trombones as the Hunter seeks out his victim. The 'rips' from the Tenor Horns & Euphoniums should emulate the French Horn. Bar 28 sees the commencement of the chase as the Hunter moves on his prey. At Bar 34 the percussion indicates danger is imminent: a sense of threat should cut through with the driving rhythm, a la bolero. This will be reinforced by a strict adherence to the beat, representing the remorseless persistence of the Hunter and the seeming impossibility of the prey's escape. As we move towards the climax of the music, Bar 49 begins with a series of semiquavers depicting stars appearing in the sky. This segues to a frenzied finale, the capture of the exhausted prey and the Hunter's victorious conclusion. should be performed with a sense of breathless joy with playfulness & humour as its key characteristics, as depicted by the tin whistle and timpani glissandos. 5) AQUARIUS - THE WATER CARRIER( tranquillo) Latin for "water carrier", Aquarius is one of the first-recognised constellations and was recorded in the 2nd Century by the astronomer Ptolemy. In this section the marimba emulates the sound of water along with the rain-stick; the rhythm of the raindrops must come through. This is followed by a more melancholic melody which should be played sweetly but sorrowfully; the impact of the elements leading to inward reflection. 6) ORION - THE HUNTER (minaccioso) The scoring here aims to suggest menace and conjures up the threat of the hunt. Bar 10 should be played with edge from the Trombones as the Hunter seeks out his victim. The 'rips' from the Tenor Horns & Euphoniums should emulate the French Horn. Bar 28 sees the commencement of the chase as the Hunter moves on his prey. At Bar 34 the percussion indicates danger is imminent: a sense of threat should cut through with the driving rhythm, a la bolero. This will be reinforced by a strict adherence to the beat, representing the remorseless persistence of the Hunter and the seeming impossibility of the prey's escape. As we move towards the climax of the music, Bar 49 begins with a series of semiquavers depicting stars appearing in the sky. This segues to a frenzied finale, the capture of the exhausted prey and the Hunter's victorious conclusion.

    Estimated delivery 12-14 days
  • £79.95

    Orion - Paul Lovatt-Cooper

    Orion was named after the giant huntsman in Greek mythology and is a prominent constellation located on the celestial equator and visible throughout the world. It is one of the most conspicuous and recognisable constellations in the night sky. This piece and its inspiration were composed as a tone poem creating a musical picture of this amazing phenomenon.The opening introduces the constellation. Starting mysteriously with the percussion and basses this section develops a series of rhythmic and harmonic interludes from the upper brass. As this introduction develops, the melodic line lead by the Solo Cornet and Euphonium builds as the accompanying instruments increase in their rhythmic complexity. This section climaxes with a short fanfare motif which will be a prominent theme throughout this piece.The fast rhythmic section that follows serves as a technical test for the players. The thematic device introduced by the Solo Cornets is passed around various soloists and sections within the ensemble. This part of the tone poem gives the opportunity for the ensemble to highlight their technical prowess. The fanfare motif returns to conclude this section and takes the piece into the slow middle movement.Motifs heard earlier are mixed with new ideas in this slow section which give an opportunity for a variety of soloists to demonstrate their musical prowess. After the various solo passages and cadenzas, the mood shifts dramatically to a more ominous section that builds in texture and dynamic. Concluding with our returning fanfare motif the piece then builds in momentum towards our finale section.This finale is a technical showcase which will further test the playing ability and stamina of soloists, small groups and the full ensemble. Using prominent musical themes heard throughout this piece the music builds to a glorious conclusion fitting with wonderful constellation.

    Estimated delivery 12-14 days
  • £29.95

    Rondo Alla Turk - Wolfgang Amadeus Mozart

    Rondo Alla Turk has been a popular concert piece for many performers the world over. This is an arrangement I have done for solo xylophone that shows off the technical dexterity of both the piece and the instrument. Starting in a brisk tempo, the soloist performs the main themes of the piece with the major key fanfare-like interludes introducing each new section.The main melody from the opening returns with an even brighter tempo that takes the soloist into a flamboyant cadenza section. The cadenza section is scored out for the xylophone but the ad-lib marking allows the soloist in true Mozart fashion to improvise (if they wish) the cadenza section which leads into the finale.The finale brings back the major key motifs from the opening to a coda section that concludes in a breathless flurry from the soloist.Paul Lovatt-Cooper Suitable for 3rd section bands and above, soloist grade 8

    Estimated delivery 12-14 days
  • £133.60

    Festive Fireworks - Fredrick Schjelderup

    "Festive Fireworks" is written in three movements: I. Festivitas, II. Fantasia & III. Fireworks.The piece is based on two different tunes, both presented in the first movement, "Festivitas".II. Fantasia is written as a calm fantasy on the two themes. It includes melodic lines, percussion effects and finish off with cadenza's for Solo Cornet, Solo Horn, Euphonium and Eb Bass.III. Fireworks is a quick movement with lots of energy combined with technique and melodic lines. Elements of the first and second movement is presented and mixed together for a great finale.To the conductor:"I. Festivitas" can also be used as a concert opener or finale and has two different endings for concert use or contests (by using all the three movements).

    Estimated delivery 10-12 days

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  • £19.50

    W.S.B. March - Gavin Somerset

    After performing a number of arrangements by Gavin Somerset, the band commissioned him to compose for them, an original march that would serve as their signature tune for years to come. The march was composed in a light 6/8 time that would get passes by listening and audience’s feet tapping along. Composed with a DC, this is optional and the finale of the march has a licence for a Grandioso and accelerando to give the work that flair for its finale.

    In stock: Estimated delivery 1-2 days

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  • £85.00 £85.00
    Buy from PHM Publishing

    Variations on a Theme of Michael Tippett

    Processional Michael Tippett (arr. Hindmarsh) Danse des Amis Bramwell Tovey Midsummer Song Edward Gregson Scherzettino Michael Ball Collage Elgar Howarth Birthday Fugue – Finale Philip Wilby Devised by Paul Hindmarsh to celebrate the centenary of Sir Michael Tippert in 2006, this unqiue collaboration between five leading creative voices in brass band music of recent years also celebrated the 60th and 70th birthdays of two of its contributors, Edward Gregson and Elgar Howarth. Philip Wilby pays birthday tributes in his dramatic fugal finale. The theme is taken from Tippett's opera The Midsummer Marriage, and it also appears in his Birthday Suite for Prince Charles (1948), scored predominently for brass. The work was written for Foden's Band and Bramwell Tovey to perform at the 2006 RNCM Festival of Brass in Manchester (UK). The same artists have also recorded it for NMC. Variations on a theme of Michael Tippett is a demanding work that has techncial and musical challenges appropriate to Championship Section brass band competitions, while also possessing considerable audience appeal. Duration: c. 13-14 minsScore and parts: ?85 Score: ?15.00