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£120.00
Rhapsody in Black (Bra) - Andi Cook
The primary inspiration for this work comes from the composer's first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of 'Rhapsody in Black'. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....'Rhapsody in Black' is dedicated to the composer's friend and mentor John Roberts, who shares his love of both brass and rock.
Estimated dispatch 7-14 working days
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£87.00
Stronghold (Bra) - Jacques Claivoz
This Swiss composer (b. 1971) played flugelhorn and principal cornet for a long time with 'Ensemble de cuivres Valaisan' and started composing in 2011. This concertwork consists of three consecutive movements: Battle - Song - Dance.
Estimated dispatch 7-14 working days
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£89.00
The Poseidon (Bra) - Pimpanit Karoonyavanich
In Greek mythology "Poseidon" is the god who reigns over the sea, the waters and their gods. The opening of this work reflects the power of Poseidon. He could turn a calm sea into a rough and turbulent sea that swallows up ships. With his famous trident he can generate an earthquake, hence his nickname "Earth Shaker". Every living being is afraid of him, including his wife and children. Deep inside, however, he feels lonely. The middle part of this work shows the other side of Poseidon as a normal person who desires for love and understanding. However, this sad but sweet theme doesn't last long because its angry character resurfaces. He starts again to use his power in an aggressive way and the powerful opening theme is repeated. After "A Journey to The Bermuda Triangle", this is the second work in which the composer has drawn her inspiration from her favourite seascape painting by the Belgian painter Romain Steppe (1859-1927).
Estimated dispatch 7-14 working days
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£163.00Spiritus Vita - Anton Weeren
Spiritus Vita stands for "Breath of Life". The breath of life that is literally blown into instruments to produce beautiful wind music. This piece is a virtuosic fantasy for brass band. Extremely rhythmic, groovy, cheerful, flashy, and danceable, interspersed with long dramatic lines, sometimes combined with less common harmonies. The spirit and fire of life, with all its ups and downs, cheerfulness, sadness, reflection, peace, but also madness and despair. All emotions and energy expressed in this special, colorful, rhythmic composition.
Estimated dispatch 10-14 working days
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£72.00
Halleluja - Leonard Cohen/Dean Jones
Some songs have a distinct, inherent value even long after they are written. There is a beauty in the simplicity of Leonard Cohen's classic song, 'Hallelujah' which was captured by many artists and arrangers over several decades since it was written. Here is a symphonic setting which may be an appealing addition on your music programmes.
Estimated dispatch 10-14 working days
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£64.00Recuerdos de Viajes - Francois Glorieux/Paul Voet
The Belgian piano virtuoso and composer Francois Glorieux (Kortrijk, 1932) has had a long international career as a concert pianist and conductor. As composer and arranger he worked, among others, with Stan Kenton and with the famous London brass ensemble 'Locke Brass Consort'. With that ensemble as well as with his own orchestra 'The Francois Glorieux Brass and Percussion Orchestra', he recorded many of his own compositions. His pupil trumpeter Paul Voet wrote an arrangement for brass band of these 'travel memories'. This is really a most fine original concert piece for brass band.
Estimated dispatch 10-14 working days
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£35.00Edward Gregson: Fanfare for a New Era (for Brass Band)
DescriptionComposer's NoteThe Fanfare has been designed to be partly antiphonal, with four separate brass 'choirs' initially playing their own music, and so some spatial separation is desirable. Soprano and solo cornets should be placed centrally, standing behind the rest of the band - or in some venues could even be placed off-stage in a side balcony, but still close to the band. If the Fanfare is played by a contesting size band, one of the solo cornets should play the 1st cornet part together with the usual player ie the number of players on the 1st, 2nd, and 3rd cornet parts should be equal. Otherwise the number of players in each of the two cornet 'choirs' is at the discretion of the conductor. The Tubular Bells accompanying the cornets 1-3 group should be placed close to that group. See inside back cover for suggested band formation.The style of playing should replicate that of symphonic brass, with a minimum of vibrato and with long notes being sustained without decaying.Programme NoteCommissioned in 2020 by Youth Brass 2000, Fanfare for a New Era was designed to be partly antiphonal - thus the separation of the band into four brass 'choirs', each with their own percussion accompaniment. First, soprano and solo cornets, rather like heraldic trumpeters, announce the main idea, majestic in character. Then horns, baritones, and euphoniums, with timpani, enter with stately figurations. Next, the heraldic trumpeters usher in trombones and tubas, to the accompaniment of tom-toms and snare drum, presenting a faster and rhythmic dance-like theme. Finally, the remaining cornets amplify the pealing of bells. All four elements then come together, surrounding the audience with a 'joyful noise' of festive brass and percussion.The original symphonic brass version of this fanfare can be purchased as part of a set of Three Fanfares HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£30.00The Sword and the Star
DescriptionThe Sword and the Star was written in 2006 for the Middleton Band at the request of their Musical Director, Carl Whiteoak. The inspiration for the work was the band's badge, which features a medieval archer. The town of Middeton's historical link with the symbol of the Archer came from the English victory at the Battle of Flodden in September 1513, where bowmen from Middleton and Heywood under the command of Sir Richard Assheton played a vital part in crushing the invading Scottish army. Sir Richard captured one of the Scottish commanders and presented the prisoner's sword to the St Leonard's church in Middleton in recognition of the town's contribution. As long time Lords of the Manor, the Assheton family crest was for centuries featured in the coat of arms of Middleton council, and when Middleton became part of the Metropolitan Borough of Rochdale the black star from the Assheton crest was used to represent Middleton in the new borough's coat of arms. Hence the title The Sword and the Star, for a piece which attempts to give an impression of the town as it was then and as it is now.The music is in three short sections - a fanfare, a lament and a bright scherzo - and simply aims to contrast the medieval hamlet of Middleton with the bustling urban centre it has now become. The central lament features a Scottish song called "The Flowers of the Forest", written to mourn the loss of so many of Scotland's young men on the field of Flodden; the song returns in a much more positive form at the end of the piece.
Estimated dispatch 7-14 working days
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£10.00Endurance
DescriptionMen wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success. - Ernest Shackleton, 4 Burlington StreetEndurance takes its title from the ship used by Sir Ernest Shackleton's Imperial Trans-Antarctic Expedition in 1914-15. After many months of fundraising (and reputedly running the above advert in The Times) the Endurance set sail from Plymouth on 6 August 1914. Whilst at sea news of the outbreak of war led Shackleton to put his ship and crew at the disposal of the Admiralty, but their services were not required and they were encouraged to continue. On October 26 1914 they left Grytviken on South Georgia for the Antarctic continent, hoping to find the pack ice shrinking in the Antarctic spring. Two days later, however, they encountered unseasonable ice which slowed their progress considerably. On 15 January 1915, when Endurance was only 200 miles from her intended landfall at Vahsel Bay, the ship became beset by ice which had been compressed against the land to the south by gale force winds. Trapped in the ice of the Weddell Sea, the ship spent the Antarctic winter driven by the weather further from her intended destination until, on 21 November 1915 Endurance broke up forcing the crew to abandon ship and set up camp on the ice at a site they named "Patience Camp".The crew spent several weeks on the ice. As the southern spring started to reduce the extent of the ice shelf they took to their three lifeboats, sailing across the open ocean to reach the desolate and uninhabited Elephant Island. There they used two of the boats to build a makeshift shelter while Shackleton and five others took the largest boat, an open lifeboat named the 'James Caird' and sailed it for 800 terrifyingly dangerous miles across the vast and lonely Southern Atlantic to South Georgia - a journey now widely regarded as one of the greatest and most heroic small-boat journeys ever undertaken. After landing on the wrong side of the island and having to climb over a mountain range in the dark with no map, Shackleton and his companions finally stumbled back into the Grytviken whaling station on 19 May 1916.After resting very briefly to recover his strength, Shackleton then began a relentless campaign to beg or borrow a ship to rescue the rest of his crew from Elephant Island; whaling ships were not strong enough to enter polar ice, but on 30 August 1916, over two years after their departure from Plymouth, Shackleton finally returned to Elephant Island aboard a steam tug borrowed from the Chilean government. Although some were in poor health, every member of the Endurance crew was rescued and returned home alive.Endurance is dedicated to the memory of my mum, who passed away in September 2017.Listen to a computer generated preview and follow the score below:
Estimated dispatch 7-14 working days
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£72.00
Ave Maria - Vocal or Instrumental Solo - Bach-Gounod - Bjorn Mellemberg
This great piece is a result of two outstanding composers creative ability. The French composer Charles Gounod (1818-1893) used the Prelude No. 1 from "Das Wohltemperierte Klavier" by Johann Sebasian Bach (1685-1750) and added a beautiful melody to the original piece. The composition has the occurred in several versions both with and without lyrics and for many kinds of instrumentations.To the Conductor:It's important to take well care of the long phrases of the melody and it's warm and soft character.Make shure that the band balance the three elements of melody, harmony and the rhythmic (played by the clarinets) well. All these three is of equial importance and depend of each other.
Estimated dispatch 7-14 working days
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