Results
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£99.95ROCOCO VARIATIONS (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
Rococo Variations was commissioned by the British Open Championships for their 2008 contest in Symphony Hall, Birmingham, and co-commissioned by the Norwegian Band Federation, for their National Championship in Bergen in 2009.The title of the work has been used before, of course, most notably by Tchaikovsky in his work for cello and orchestra. My set of variations follows the Tchaikovskian model in that it is based on a quasi-Baroque original theme, and has certain 'dance-like' characteristics in the variations, but beyond that all comparisons end.There are six variations: Toccata, Siciliana, Waltz, Moto Perpetuo, Lament, and Fugal Scherzo, followed by a triumphant re-statement of the theme. Throughout, there is considerable contrast in the music, with the fast variations being rather virtuoso in character, sometimes with constantly changing time patterns, whilst the two slow variations (Siciliana and Lament) are in turn lyrical and pensive in mood with prominent solos and duets for a number of instruments.Although the work overall is dedicated by my brother, each of the six variations pays tribute to a different composer whose contribution to the brass band repertoire during the second half of the twentieth century has been of great significance. To this end, all six composers have their own 'musical signature' embraced within the particular variation, a process which reaches its zenith, contrapuntally speaking, during the final variation and reprise of the theme.- Edward Gregson
Estimated dispatch 7-14 working days
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£49.95
ROCOCO VARIATIONS (Gregson) (Brass Band - Score only) - Gregson, Edward
Rococo Variations was commissioned by the British Open Championships for their 2008 contest in Symphony Hall, Birmingham, and co-commissioned by the Norwegian Band Federation, for their National Championship in Bergen in 2009.The title of the work has been used before, of course, most notably by Tchaikovsky in his work for cello and orchestra. My set of variations follows the Tchaikovskian model in that it is based on a quasi-Baroque original theme, and has certain 'dance-like' characteristics in the variations, but beyond that all comparisons end.There are six variations: Toccata, Siciliana, Waltz, Moto Perpetuo, Lament, and Fugal Scherzo, followed by a triumphant re-statement of the theme. Throughout, there is considerable contrast in the music, with the fast variations being rather virtuoso in character, sometimes with constantly changing time patterns, whilst the two slow variations (Siciliana and Lament) are in turn lyrical and pensive in mood with prominent solos and duets for a number of instruments.Although the work overall is dedicated by my brother, each of the six variations pays tribute to a different composer whose contribution to the brass band repertoire during the second half of the twentieth century has been of great significance. To this end, all six composers have their own 'musical signature' embraced within the particular variation, a process which reaches its zenith, contrapuntally speaking, during the final variation and reprise of the theme.- Edward Gregson
Estimated dispatch 7-14 working days
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£159.99RUSH HOUR (Brass Band) - Crausaz, Etienne
Rush Hour was commissioned by the Swiss Brass Band Association (SBBV) on the occasion of the 38th Swiss National Brass Band Championships 2012 (Montreux SBBW) as the test piece in the Championship division. Structured in three parts without breaks, the work opens in a heavy, oppressive atmosphere, sometimes even noisy. After a short passage in a lighter mood a quick tempo takes over, the music becomes nervous and unrelenting, with constant twists and turns. The tension builds, leading to a slower movement in which various soloists are highlighted. A few humorous touches are heard in contrast to a majestic, powerful and dramatic chorale. The end of this part is brighter and more peaceful. This atmosphere is soon replaced by a return of the thematic material heard in the first movement, developing into an oppressive moos. The piece concludes with a last ecstatic tutti, reusing the harmonies of the introduction in a kind of final flurry. Rush Hour attempts to express the range of feelings we may experience when caught in various stressful situations in the middle of the rush hour. Duration: 13:45
Estimated dispatch 7-14 working days
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£95.00Tenor Horn Concerto 'Three Gods' (Tenor Horn Solo with Brass Band - Score and Parts)
Edward Gregson's Tenor Horn Concerto (Three Gods) was commissioned by the Belgian tenor horn soloist Tim de Maeseneer for a recording of commissioned works he made in 2024 with his own band, Brass Band Willebroek.The subtitle of 'Three Gods' refers to three mythological Greek Gods: Zeus, Hermes and Apollo. The idea for this came from Gregson's Viola Concerto, which he composed in 2023 and which was similarly subtitled 'Three Goddesses'. Indeed, the first movement of the horn concerto shares some common material with the viola concerto, although the other movements are newly composed.The concerto exploits the noble character of the horn, but the writing is also virtuosic in character as well as lyrical and melodic, demanding an extended playing range of nearly four octaves with a variety of colouration in its sonorities. The unifying motif of the whole concerto is the interval of a rising 5th, heard at the outset. The opening also has some other surprises (both seen and heard).The musical ideas, cast in three separate movements, take their starting point from the characters of the Three Gods in the title:Zeus, ruled as King of the Gods on Mount Olympus, and was the God of Thunder and Lightning and of War. His music is often threatening and violent, but also has a more tender side as portrayed in the lyrical second subject. However, the dominant mood is one of foreboding.Hermes was the great messenger to the Gods who could travel between realms on his winged sandals. Thus, his music is fast, fleet of foot, and mercurial - a dashing scherzo, but with lyrical and expressive moments.Apollo, the God of Music and Dance (and the Sun), symbolises virtue and beauty. This final movement, 'Hymn to Apollo', is mainly slow and hymn-like and cast in a continuous stream of melody passed between soloist and band. Brief fanfares herald a triumphant march, before the music returns to its quiet opening, gradually rising to a triumphant climax with glittering melodic percussion leading the way. The music ends in a blaze of glory!Duration: 17.00
Estimated dispatch 7-14 working days
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£79.99Fanfare and Celebration (Brass Band - Score and Parts) - Sparke, Philip
Fanfare and Celebration was commissioned by the Brass Band of the Western Reserve (Dr Keith M. Wilkinson, director) to celebrate their 15th anniversary. Based in north-west Ohio, the band was formed in 1997 and was competing in the Championship Section of the North American Brass Band Championships in less than three years. The first performance of Fanfare and Celebration took place in Akron, Ohio, on November 10th 2012.The opening Fanfare features the cornet section, in two groups standing either side of the band. A central horn theme brings a change of mood before the cornets take the lead once more. Celebration follows seamlessly and continues the declamatory style until a cantando theme in uneven meter is introduced. A transformed recapitulation ushers in a return of the Fanfare to close the work.Duration: 6:15
Estimated dispatch 7-14 working days
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£164.99Diamond Concerto (Euphonium Concerto No.3) (Euphonium Solo with Brass Band - Score and Parts) - Sparke, Philip
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein. The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village of Morschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:Earth Star is rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.Ocean Dream uses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.Blue Heart was written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Duration: 16:45
Estimated dispatch 7-14 working days
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£59.95Essay (Brass Band - Score and Parts) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£29.95
Essay (Brass Band - Score only) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
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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£89.95Orion (Brass Band - Score and Parts)
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 dispatch 7-14 working days
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