Results
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£110.00Diversions after Benjamin Britten (Brass Band - Score and Parts)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£45.00
Diversions after Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£39.00El Capitan (Brass Band - Score and Parts) - Sousa, John Philip - Wilkinson, Keith M.
El Capitan was originally an operetta which was first produced in Boston in 1896. It was initially very popular and there are occasional revivals even to this day. The march of the same title uses themes from the opera and was also published in 1896. One notable feature - resulting from the use of themes from the operetta - is the abrupt transition from 6/8 to 2/4 half way through the march.This arrangement was prepared for the 2013 Summer concerts of Brass Band of the Western Reserve, musical director Dr Keith M Wilkinson.
Estimated dispatch 7-14 working days
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£29.95They Shall Come From The East (Brass Band - Score and Parts) - Larsson, Kevin
One of the most well-known songs from the Gowans and Larsson musical, 'The Blood of the Lamb' is given an 'African' treatment which builds to a majestic climax emphasising the words; 'From every tribe and every race, all men as brothers shall embrace; they shall come from the east, they shall come from the west, and sit down in the Kingdom of God'.
Estimated dispatch 7-14 working days
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£14.95
They Shall Come From The East (Brass Band - Score only) - Larsson, Kevin
One of the most well-known songs from the Gowans and Larsson musical, 'The Blood of the Lamb' is given an 'African' treatment which builds to a majestic climax emphasising the words; 'From every tribe and every race, all men as brothers shall embrace; they shall come from the east, they shall come from the west, and sit down in the Kingdom of God'.
Estimated dispatch 7-14 working days
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£69.95
Transformation (Brass Band - Score and Parts) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£34.95
Transformation (Brass Band - Score only) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
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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£82.95VIVAT! (Brass Band - Score and Parts) - Davoren, Tom
2012 National Championships Finals - First Section.Commissioned for the 2012 Section 1 Finals as a celebration of the Queen's Diamond Jubilee, the work is in three contrasting continuous sections that run continuously and the music is derived from Parry's coronation anthem, I Was Glad. The sections are:In Memorium, evoking the noble but gentle personality of the Queen's father, George VI. Opening with an atmospheric baritone solo (and later featuring solo horn, flugel horn, euphonium and solo cornet), the music explores themes of grief, sentimentality and hope.Coronation, a fanfare and subsequent theme which is grandiose in style, capturing the spirit and excitement of British pomp and ceremony.The closing, Jubilate is a celebration of life and family values, Vivat being Latin for life, or long life. The music passes through moments of tension, virtuosity, humour and jubilance before a finale constructed from connected musical fragments, drawn from throughout the work, form (for the first time) Parry's majestic I Was Glad theme.Duration: 10.45
Estimated dispatch 7-14 working days
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