Results
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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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£44.95
TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score only) - Gregson, Edward
Brass Band Score onlyThis work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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£34.95A Swedish March and Fanfare (Brass Band - Score and Parts) - Gregson, Edward
A Swedish March:This little march was written in 1975 and was commissioned for the Jnkping Summer School, Sweden, where Edward Gregson was guest composer and conductor. It incorporates the old Swedish folksong Britta at its heart, but otherwise is quite conventional in every aspect.Duration: 3.00Fanfare:This fanfare was originally written for brass ensemble, organ and percussion, under the title Fanfare for Europe, and was commissioned for a concert at the Royal Albert Hall, London, to celebrate Great Britain's entry into Europe. The composer then created this version for brass band which was published in 1976.Duration: 1.30
Estimated dispatch 7-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1355 - 1358, November 2023
1355: March Medley - Pardoned Forever (Keith Manners)This collection of Easter-themed melodies should be played with enthusiasm and vigour. Featuring the songs He lives (S.A.S.B. 229), Chris is alive! Let Christians sing (S.A.S.B. 217) and No more! No more! He remembers sins no more (S.A.S.B. 460), the positive message of Easter Sunday is reflected in this bright march style.1356: Selection - I love the sweetest name (Noel Jones)This devotional selection includes three songs that feature the name of Jesus and derives its title from the following lines of those songs; 'How sweet the name of Jesus sounds' (S.A.S.B. 78), 'O, how I love the Saviour's name! The sweetest name on earth' (S.A.S.B. 94) and 'Sweetest name on mortal tongue' (S.A.S.B. 93).1357: Renewal (Harold Burgmayer)Will J. Brand penned the song Renewal (S.A.S.B. 634), with music by Bramwell Coles, for 'Day of Renewal' meetings conducted by General Albert Orsborn in October 1949. It was published in that form in The Musical Salvationist in 1951. Over time these meaningful words of consecration became wedded to an alternative tune, a lovely melody by Oscar Ahnfelt known as Trust in God (T.B. 903). This setting for band is based on a male-voice arrangement, conceived for a time of renewed consecration, sung by massed bands at the Canadian Staff Band's 50th Anniversary Festival in 2019.1358: Groove Hosanna! (Munashe Chikwezvero)This is a funk setting of three well-known melodies associated with Jesus' triumphal entry into Jerusalem. Today, such celebratory processions, and indeed most large gatherings, usually feature rich forms of music-making. Music provides atmosphere and generates excitement, and it is hoped that a funk inspired arrangement of these songs will inspire listeners to 'move to the groove'. The first two songs, Children of Jerusalem (S.A.S.B. 356) and Give me joy in my heart, keep me praising (S.A.S.B. 362) encourage us to sing 'Loud hosannas to our King!'. The words of the third song, When his salvation bringing, remind us that he "smiled to hear their song".
Estimated dispatch 7-14 working days
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£95.00Concertante (Piano Solo with Brass Band - Score and Parts)
This work was written in 1966, when I was a student at the Royal Academy of Music in London. It was the first major work to be written for this combination. The Concertante is unashamedly romantic in idiom and is cast in three movements: Prelude, Nocturne and Rondo.The Prelude is in sonata form with a contracted recapitulation. There are two main themes, the first announced after the opening flourish on piano. The second theme is lyrical in character and the interplay between these two themes forms the main focus of the movement.The pensive Nocturne opens with an introduction from the band which contains hints of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'blues' character in its flattened third and seventh notes of the scale. The band enters with the chorale theme already heard in the introduction. Eventually the first theme returns, this time from piano and band and building to a powerful climax before subsiding to a peaceful ending.The Rondo is full of energetic rhythms and changing time patterns. The main theme is 'giocoso' in character and in the first episode there is more than a hint of the tune 'Onward Christian Soldiers' in what amounts to a good humoured parody. Before the final coda there is a long piano cadenza underlying the virtuoso element of the work.The work had a number of public performances leading up to a memorable one in the Royal Albert Hall in 1989 as part of the Gala Concert that used to be held after the National Brass Band Championship in the Royal Albert Hall. That year, the 'centre band' in the massed bands concert were the GUS Band (then known for sponsorship reasons as 'Rigid Containers Group Band'!) conducted by my great friend and champion, Bramwell Tovey, with myself as the soloist.- Edward GregsonDuration: 18.00
Estimated dispatch 7-14 working days
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£24.9523 - A Lament for the Victims of Enschede (Brass Band - Score and Parts)
23 was composed for Brass Band Schoonhoven, and used as part of their programme for Brass in Concert in November 2016.On the 13 th May 2000, the Netherlands was shocked by an explosion in Roombeek - a district of Enschede, near the German border - after a fire broke out at a local fireworks depot. 23 people lost their lives in the tragic events. This piece pays tribute to their memory.The numbers 2 and 3 form the basis of the piece. The use of 5/4 allows the music to flow, alternating between 2 + 3 and 3 + 2; there are frequent passages where triplet quavers clash with straight quavers; and the tuned percussion make use of a scale composed of alternating intervals of 2 and 3 semitones.
Estimated dispatch 7-14 working days
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£69.95Horn Concerto (Horn Solo with Brass Band)
Horn in F/E flat with Brass BandComposed in 1971 for Ifor James, the Concerto for French Horn and Band revealed some of those elements that have made Gregson's music so popular with audiences (and not just brass band audiences) worldwide: the boldness of his melodies, with the interval of the fourth revealing his admiration for the music of Paul Hindemith; his incisive rhythms, betraying the influence of another favourite composer, Bla Bartk; an admirable economy of means; and the clarity of his scoring.Each of the Concerto's three movements displays a different facet of the French Horn's character. The first is serious, symphonic in impulse, the rising fourths of the opening gesture giving the music an almost Germanic weight. In the slow movement, the soloist becomes the first among equals, sharing with the cornet soloist some typically haunting melodies. The lyrical flow is interrupted at the mid-point by mysterious, fleet-of-foot cadenzas. A rondo finale brings the concerto to a lighthearted conclusion. The rising fourths here are the impulse for a jaunty theme which reveals another of Gregson's early influences - William Walton, and in particular that composer's Partita for orchestra.
Estimated dispatch 7-14 working days
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£45.00Lament (Brass Band - Score and Parts)
The English composer Frank Bridge (1879 - 1941) did not take an active part in the First World War. However, he was devastated by the slaughter on the western and the eastern fronts, especially the loss of so many of his musicians friends and colleagues. Writing in 1963, his former pupil Benjamin Britten confessed that 'a lot of my feelings about the First World War which people seemed to see in the War Requiem came from Bridge. He had written a piano sonata in memory of a friend killed in France and though he didn't encourage me to take a stand for the sake of a stand, he did make me argue and argue and argue. His own pacifism was not aggressive, but typically gentle'.Bridge composed this Lament for string orchestra on 14 June 1915, in memory of Catherine Crompton, who drowned when the Cunard liner Lusitania was torpedoed by a German submarine on 7 May, 1915. According to figures researched by Liverpool historian Kevin Roach (www.lusitania.net), 1201 men, women and children lost their lives out of the 1962 people aboard. Ninety-four children died, including Catherine, her twin brother Paul and four other siblings. Paul Crompton, Snr. (44), a British businessman working in Philadelphia, his wife Gladys (40) and the family nanny were also drowned. How Bridge's dedication came about is uncertain. The music critic Edwin Evans, who knew Bridge well, has written that the Catherine was a young friend. It is also possible that he came across the family photograph which was published in many newspapers in the wake of the tragedy. By that time, Bridge was greatly distressed by the war as a whole. It seems perfectly in keeping with his pacifist leanings and the strength of his reaction, that this poignant and deeply touching 'war memorial' should mourn a child who he did not know, rather than one of the thousands of young men who fell in battle.Through the musical tears of this melancholy lullaby, Bridge may have regarded the death of young Catherine Crompton as symbolic of the loss of so many innocent lives in wartime. His response to this personal tragedy was characteristically spontaneous and utterly sincere. It is one of his most effective miniatures, poignant yet restrained in its lyrical beauty, with a compelling directness and simplicity of construction.This brass band transcription is pitched one tone lower than the original for string orchestra.- Paul HindmarshDuration: 5.00
Estimated dispatch 7-14 working days
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£19.99Journey of the Lone Wolf (Brass Band - Score Only)
Championship Section Test Piece for the 2016 National Finals of the British Brass Band Championship.The Lone Wolf of the title is the great Hungarian composer and folklorist Bla Bartok. Bartok's journey took him from the hills of the Balkans to the heart of the new world. His singular vision may have meant a life out in the cold, a life without warmth and love, a life without true happiness, a death mourned by a few in a strange land.The first of the three linked movements is capturing the Peasants' Song and follows the young Bartok and fellow composer Zoltan Kolday as they embark on Summertime adventures through the Hungarian countryside to collect and catalogue the astonishing variety of Gypsy and folk music heard in the Balkan hills. The arrival of WW1 plunges Bartok's beloved Hungary into chaos.Bartok was at times a cold man, aloof and lonely. The occasional moments of tenderness he showed are portrayed in Night Music. His brief but intense affairs speak of a love he could only long for. Jazz is my night music and here there are hints of what Bartok may have heard in the USA later in his life.Having been forced by the world's evils to leave his homeland of Hungary for America Bartok, the anti-fascist, felt isolated and angry. In the finale, Flight and Fight, we hear his longing for a simpler time of Gypsy folk dances as well as his maturity and depth as a composer finally exploring deeper colours and darker themes.Duration: 15.00
Estimated dispatch 7-14 working days
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