Results
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£79.95Corineus (Brass Band - Score and Parts) - Bond, Christopher
Regionals 2024 - 3rd Section test piecePremiered by Cory Band at the 2018 Festival of Brass, Manchester. Selected as the set-work for the Championship Section at the 2019 National Youth Championships of Great Britain.Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall. The first of the legendary rulers of Cornwall, he is described as a character of strength and power. It is on the medieval ruler that this new work, Corineus, is based, presented in three contrasting sections. The work opens with heraldic fanfares and a sense of jubilance before presenting musical material which changes and develops organically, portraying the journey taken by Corineus, Brutus, and the Trojans from modern-day mainland Europe to Britain. The central section of the work is slower, creating a feeling of longing. Brutus' son, Locrinus, had agreed to marry Corineus' daughter, Gwendolen, but instead fell in love with a German princess. In writing this part of the work, the composer portrays the longing of Gwendolen for her husband, knowing he is in love with somebody else. After Corineus died, Locrinus divorced Gwendolen, who responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and legend suggests that Gwendolen threw Locrinus' lover into the River Severn. This dramatic battle provides the inspiration for the final part of the work. In writing this work, the composer hopes to flare the imagination of young brass players around the country, in an engaging new take on a firm fixture in British folklore.Duration: 11.00
Estimated dispatch 7-14 working days
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£29.95
Corineus (Brass Band - Score only) - Bond, Christopher
Regionals 2024 - 3rd Section test piecePremiered by Cory Band at the 2018 Festival of Brass, Manchester. Selected as the set-work for the Championship Section at the 2019 National Youth Championships of Great Britain.Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall. The first of the legendary rulers of Cornwall, he is described as a character of strength and power. It is on the medieval ruler that this new work, Corineus, is based, presented in three contrasting sections. The work opens with heraldic fanfares and a sense of jubilance before presenting musical material which changes and develops organically, portraying the journey taken by Corineus, Brutus, and the Trojans from modern-day mainland Europe to Britain. The central section of the work is slower, creating a feeling of longing. Brutus' son, Locrinus, had agreed to marry Corineus' daughter, Gwendolen, but instead fell in love with a German princess. In writing this part of the work, the composer portrays the longing of Gwendolen for her husband, knowing he is in love with somebody else. After Corineus died, Locrinus divorced Gwendolen, who responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and legend suggests that Gwendolen threw Locrinus' lover into the River Severn. This dramatic battle provides the inspiration for the final part of the work. In writing this work, the composer hopes to flare the imagination of young brass players around the country, in an engaging new take on a firm fixture in British folklore.Duration: 11.00
Estimated dispatch 7-14 working days
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£107.95Cornet Concerto (Brass Band - Score and Parts) - Gregson, Edward
The Cornet Concerto was commissioned by Black Dyke Band for their principal cornet, Richard Marshall, and was premiered at the European Brass Band Festival's Gala Concert in Lille, France, on 30 April 2016 by the same performers, conducted by Nicholas Childs.It is challenging work, both musically and technically, and one that exploits the wide range of the instrument's capabilities. Lasting for some 17 minutes, it is in the usual three movements: Sonata, Intermezzo (subtitled 'Of More Distant Memories') and Rondo.The first movement presents four main ideas:Cadenzas (which recur throughout the movement, and indeed appear at the end of the work); a fast and rhythmically energetic motive; Bugle calls (echoing the ancestor of the cornet), and a lyrical and expressive melody, full of yearning. These four ideas are juxtaposed within the broad shape of a Sonata form structure, although here the word 'Sonata' is used in its original meaning of 'sounding together'.The second movement is music in search of a theme, which eventually comes at the end of the movement. In the middle section there are brief quotations, albeit mostly hidden, from three cornet solos written by the Swedish/American composer Erik Leidzen for the Salvation Army in the 1940s and 50s; these are solos I loved as a teenager, and my use of them is by way of tribute, not imitation - a sort of memory bank, just as the main theme of the movement, when it eventually comes, is reminiscent of the tune from my earlier work for brass band, 'Of Distant Memories'.The final Rondo, the shortest of the three movements, is a lively and 'fleet-of foot' Scherzo, its main theme full of cascading arpeggios, but with a contrasting lyrical second theme intertwined in the structure. There is much interplay between soloist and band in the development of the music, but eventually a brief reprise of the opening cadenzas leads to an exciting and climactic coda.Click here for the piano reduction
Estimated dispatch 7-14 working days
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£49.95Cornet Concerto (Brass Band - Score only) - Gregson, Edward
The Cornet Concerto was commissioned by Black Dyke Band for their principal cornet, Richard Marshall, and was premiered at the European Brass Band Festival's Gala Concert in Lille, France, on 30 April 2016 by the same performers, conducted by Nicholas Childs.It is challenging work, both musically and technically, and one that exploits the wide range of the instrument's capabilities. Lasting for some 17 minutes, it is in the usual three movements: Sonata, Intermezzo (subtitled 'Of More Distant Memories') and Rondo.The first movement presents four main ideas:Cadenzas (which recur throughout the movement, and indeed appear at the end of the work); a fast and rhythmically energetic motive; Bugle calls (echoing the ancestor of the cornet), and a lyrical and expressive melody, full of yearning. These four ideas are juxtaposed within the broad shape of a Sonata form structure, although here the word 'Sonata' is used in its original meaning of 'sounding together'.The second movement is music in search of a theme, which eventually comes at the end of the movement. In the middle section there are brief quotations, albeit mostly hidden, from three cornet solos written by the Swedish/American composer Erik Leidzen for the Salvation Army in the 1940s and 50s; these are solos I loved as a teenager, and my use of them is by way of tribute, not imitation - a sort of memory bank, just as the main theme of the movement, when it eventually comes, is reminiscent of the tune from my earlier work for brass band, 'Of Distant Memories'.The final Rondo, the shortest of the three movements, is a lively and 'fleet-of foot' Scherzo, its main theme full of cascading arpeggios, but with a contrasting lyrical second theme intertwined in the structure. There is much interplay between soloist and band in the development of the music, but eventually a brief reprise of the opening cadenzas leads to an exciting and climactic coda.Duration: 17.00
Estimated dispatch 7-14 working days
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£80.00The Unfortunate Traveller (Brass Band - Score and Parts) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£40.00
The Unfortunate Traveller (Brass Band - Score only) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£59.99Almshouse Street Blues (Brass Band - Score and Parts) - Sparke, Philip
In 2007 Philip Sparke was appointed composer-in-residence to Monmouth School, situated on the Welsh/English border. The school, which has a venerable history dating back to 1614, has a thriving music department which boasts two concert bands, in co-operation with the nearby Haberdashers' Monmouth School for Girls, and a brass band.This exciting and innovative appointment involved three visits by the composer during the year as well as the commissioning of a new piece for each of the bands, all of which were premiered in a concert at the end of the year.Almshouse Street Blues was written for the brass band, whose members were allowed to vote for which type of piece they would get! Monmouth School is based in Almshouse Street and the town has a thriving summer festival which, alongside blues bands, features a wide variety of music including jazz, soul, rock and bangra.Duration: 4.45
Estimated dispatch 7-14 working days
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£40.00Alchemists' Fire - Lucy Pankhurst
An original composition from Lucy Pankhurst and Winner of the 2011 John Golland Award, receiving its premiere at the RNCM Festival of Brass that same year.It is a complex, energetic and invigorating major work for brass band, and one which rightly demands attention through its intricate scoring, impact-making effects and bubbling brilliance!Comments from the composer on the work's title and its multi-purpose influence and inspiration upon her composition:"The phrase "Alchemists' Fire" has several possible connotations:Firstly, Alchemists' Fire is a magical weapon featured in the Dungeons & Dragon role playing game. It is a potion, so can be used to splash, throw or pour onto a target, dealing fire damage if it hits successfully.The second possible meaning comes from an historical source, where it was also known as Greek Fire, from which the D&D element takes its influence. This was an incendiary weapon used by the Byzantine Empire, typically used in naval battles to great effect, as it could continue to burn on water. It provided a technological advantage and was responsible for many key Byzantine victories. The manufacture of this 'fire' was kept a deadly secret; so much so that the formula was eventually lost and contemporary scientists and historians can only speculate at what the chemical make-up might have been.The final implication is a much more visual and sensory concept; that of the fire actually used by the Alchemist in his work - raging, dangerous and white-hot. Some sections of the work reflect the idea of 'magic' and ongoing experiments, some successful, some failing dangerously, in a cacophony of pops, fizzes and explosions amidst furious heat and brief moments of calm as the fire slowly cools, sizzling with residual components and elemental energy."
In Stock: Estimated dispatch 3-5 working days
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£89.95TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95
TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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