Results
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£37.95FANFARE FOR A FESTIVAL (Brass Band) - Arnold, Malcolm - Sparke, Philip
Estimated dispatch 7-14 working days
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£69.99Fanfare for a Celebration - Jan Bosveld
This festive fanfare sets the tone for your concert or festival and is suitable for all sorts of occasions. The premiere took place in 2001 and was written for the special 70th anniversary of the PTT Brass Band from Apeldoorn(Holland). The visiting-card for your band! Deze feestelijke fanfare zet de toon voor uw concert of een festival en is geschikt voor allerlei gelegenheden. De premi?re vond plaats in 2001 en werd geschreven voor het 70 jarig jubileum van de PTT Brass Band uit Apeldoorn. Het visitekaartje voor uw band!
Estimated dispatch 5-14 working days
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£77.00
A Festival Choral (Bra) - Nick Van Elsen
This hymn was written for Festival Brass Band. It takes the band's note names (F - Eb - Bb - As) and incorporates them into a melodic theme that floats through the piece. The harmonic colours are also derived from these notes.
Estimated dispatch 7-14 working days
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£104.99A Fanfare of Bells - Hermann Pallhuber
A Fanfare of Bells is festival music composed for a particular occasion: in 2012 the young 3BA Brass Band from Germany took part in the champion section of the Flemish Open Brass Band Championship in Mechelen, Belgium, for the first time: a festival of premieres. A Fanfare of Bells, accordingly, is music that creates festival atmosphere. Big melodies designed to touch the heart are cut through with brilliant fanfares. The piece contains lyrical and melodic passages that bring the skills and general musicianship of the 3BA Brass Band to the fore, along with various technical passages that spotlight the excellence of the individual musicians. Peels of bells at thestart and end of the work ring in a new atmosphere for brass band music in Germany and Austria. A Fanfare of Bells is, however, also a tribute to the wonderful sound of brass instruments, that blend together to create the most subtle sonorities: bells as a symbol of the beauty of the instruments--both sonically and visually: let the bells ring...
Estimated dispatch 5-14 working days
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£104.99Harmony Festival - Jan de Haan
Harmony Festival is Jan de Haan's expression of his great respect for the composer of composers, Johann Sebastian Bach. He has used the four note names which form the name of this composer as the basis of this piece. This four note motif provides us with the most beautiful and unexpected chord combinations creating a 'festival of harmonies'!
Estimated dispatch 5-14 working days
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£39.99Harmony Festival (Brass Band - Score only) - De Haan, Jan
Harmony Festival is Jan de Haan's expression of his great respect for the composer of composers, Johann Sebastian Bach. He has used the four note names which form the name of this composer as the basis of this piece. This four note motif provides us with the most beautiful and unexpected chord combinations creating a 'festival of harmonies'!Duration: 13.00
Estimated dispatch 7-14 working days
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£104.99
Harmony Festival (Brass Band - Score and Parts) - De Haan, Jan
Harmony Festival is Jan de Haan's expression of his great respect for the composer of composers, Johann Sebastian Bach. He has used the four note names which form the name of this composer as the basis of this piece. This four note motif provides us with the most beautiful and unexpected chord combinations creating a 'festival of harmonies'!Duration: 13:00
Estimated dispatch 7-14 working days
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£22.50Edward Gregson: Concertante for Piano and Brass Band
DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For 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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£25.50Coconut Dance - Traditional - Andi Cook
The Rochdale coconut dance is a traditional Morris dance, often used by the dancers who accompany the rush-cart during the Rochdale rushbearing festival. It probably dates from the 1850s, and though the dancers were said to have half a coconut shell on each knee and in each hand, the term 'coconut' is also used as local slang for the wooden end of a wool bobbin, so nobody can be sure if they were always real coconuts. Written for the Milnrow band's 150th birthday celebrations (1869-2019) this arrangement uses a combination of Caribbean rhythms and a disco groove for a modern take on an old favourite that's impossible to sit still to. Enormously catchy, great fun to play and with something for everyone to enjoy, your audiences will be whistling this one all the way home.
In Stock: Estimated dispatch 1-3 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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