Results
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£60.99Let Me Weep (Brass Band - Score and Parts)
Let Me Weep ('Lascia ch'io pianga') is an aria from Handel's opera 'Rinaldo'. According to reports he composed the music for the complete opera in just 14 days, using many melodies from earlier works. The melody of this wonderful aria is known all over the world and this arrangement by Jacob de Haan retains all the passion of the original. 03:15
Estimated dispatch 7-14 working days
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£40.00Magic Flute Overture, The (Brass Band - Score and Parts) - Mozart, Wolfgang Amadeus - Littlemore, Phillip
Mozart's The Magic Flute is a two-act opera composed in 1791, the year of his death. It was the culmination of a period of increasing involvement by Mozart with Emmanuel Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. The Magic Flute is noted for its prominent Masonic elements; both Schikaneder and Mozart were believed to be Masons and also lodge brothers. Much of Mozart's Masonic music is written in the key of E flat. This key, with 3 flats is indicative of Masonic symbolism. There are other examples of the number three in the opera as well. The opening chords of the introduction sound three times, which also happens during the Temple scenes. Also represented in threes are the three temples of Wisdom, Reason and Nature. Tamino tries to open the three doors of the temple. There are three ladies, the attendants to the Queen of the Night, and three boys who serve as guides to Tamino and Papageno. Duration: 6:30
Estimated dispatch 7-14 working days
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£30.00O Mio Babbino Caro (from Gianni Schicchi) (Cornet Solo with Brass Band - Score and Parts) - Puccini, Giacomo - Littlemore, Phillip
O Mio Babbino Caro (Oh My Dear Papa) is taken from the opera Gianni Schicchi by Giacomo Puccini. It is sung by Lauretta after tensions between Schicchi and his prospective in-laws have reached a breaking point that threatens to separate her from Rinuccio, the boy she loves. It provides a contrasting interlude expressing lyrical simplicity and single-hearted love in the atmosphere of hypocrisy, jealousy, double-dealing and feuding in medieval Florence. The story of Gianni Schicchi concerns a rich old man who dies leaving all his possessions to the local monastery. His outraged relatives persuade Gianni Schicchi to impersonate the dead man and to dictate a new will. It is the second opera of Puccini's operatic triptych, which also includes?Il Tabarro?and?Suor Angelica. Duration: 2:00
Estimated dispatch 7-14 working days
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£30.00O Mio Babbino Caro (from Gianni Schicchi) (Vocal Solo (Soprano) with Brass Band - Score and Parts) - Puccini, Giacomo - Littlemore, Phillip
O Mio Babbino Caro (Oh My Dear Papa) is taken from the opera Gianni Schicchi by Giacomo Puccini. It is sung by Lauretta after tensions between Schicchi and his prospective in-laws have reached a breaking point that threatens to separate her from Rinuccio, the boy she loves. It provides a contrasting interlude expressing lyrical simplicity and single-hearted love in the atmosphere of hypocrisy, jealousy, double-dealing and feuding in medieval Florence. The story of Gianni Schicchi concerns a rich old man who dies leaving all his possessions to the local monastery. His outraged relatives persuade Gianni Schicchi to impersonate the dead man and to dictate a new will. It is the second opera of Puccini's operatic triptych, which also includes?Il Tabarro?and?Suor Angelica. Duration: 2:00
Estimated dispatch 7-14 working days
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£30.00Senza Mamma (from Suor Angelica) (Soprano Cornet Solo with Brass Band - Score and Parts) - Puccini, Giacomo - Littlemore, Phillip
The aria Senza Mamma (Without your Mother), sung in the opera by Sister Angelica, is one of the most poignant moments in any of Puccini's works, and has remained a repertoire favourite. Suor Angelica?is the second instalment in Puccini's triptych of one-act operas commonly known as Il trittico. The opera chronicles the fall, redemption, and final transfiguration of its central character, Sister Angelica, who has taken the veil in repentance for bearing a child out of wedlock. The libretto, by Giovacchino Forzano, was immediately appealing to the composer, whose sister Igenia was Mother Superior of the convent at Vicepelago. Though it contains some of Puccini's most adventurous writing (the musical language at times even flirts with polytonality) the work has not enjoyed popularity comparable to that of its companions,?Il Tabarro?and?Gianni Schicchi, each of which has enjoyed an independent life in the repertory. Duration: 3:40
Estimated dispatch 7-14 working days
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£30.00Senza Mamma (from Suor Angelica) (Vocal Solo (Soprano) with Brass Band - Score and Parts) - Puccini, Giacomo - Littlemore, Phillip
The aria Senza Mamma (Without your Mother), sung in the opera by Sister Angelica, is one of the most poignant moments in any of Puccini's works, and has remained a repertoire favourite. Suor Angelica?is the second instalment in Puccini's triptych of one-act operas commonly known as Il trittico. The opera chronicles the fall, redemption, and final transfiguration of its central character, Sister Angelica, who has taken the veil in repentance for bearing a child out of wedlock. The libretto, by Giovacchino Forzano, was immediately appealing to the composer, whose sister Igenia was Mother Superior of the convent at Vicepelago. Though it contains some of Puccini's most adventurous writing (the musical language at times even flirts with polytonality) the work has not enjoyed popularity comparable to that of its companions,?Il Tabarro?and?Gianni Schicchi, each of which has enjoyed an independent life in the repertory. Duration: 3:40
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£82.95Benvenuto Cellini (Brass Band - Score and Parts) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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£95.00A Wartime Sketchbook (Brass Band - Score and Parts) - Walton, William - Hindmarsh, Paul
Early in 1941 William Walton, 39, received his call-up papers. He was by then one of the most eminent of British composers and was exempted from military service on condition that he provided music for films deemed to be of 'national importance'. Scoring Lawrence Olivier's Shakespeare epic Henry V in 1943 was the most substantial of these wartime projects. His role in patriotic films from 1941 and 42 like The Foreman went to France, Next of Kin, Went the day Well and The First of the Few was to provide appropriate title music and some underscoring at key moments. Walton extracted the most substantial portions of the latter as the popular Spitfire Prelude and Fugue for orchestra. The remaining music remained unpublished until 1990, when Christopher Palmer assembled the highlights into A Wartime Sketchbook. I was intrigued to hear these examples of Walton's wartime music and having discovered that they would fit naturally and idiomatically onto the brass band, I arranged six of the numbers into a suite for Besses o' th' Barn Band, which I was conducting at the time.In 1995 the brass band suite was recorded by the famous Black Dyke Mills Band as part of an all Walton album which I produced for the ASV label (ASV CD WHL 2093). This award- winning CD also included Walton's First Shoot, in the edition by Elgar Howarth, my transcription of movements from Music for Children and two substantial brass versions by Edward Watson of the suite from Henry V (with narrator) and the March and Siegfried Music from The Battle of Britain music.Prologue: This is the stirring title music from Went the day Well, a screen play by Graham Greene about a German airborne invasion of an English village. The main theme leads toBicycle Chase: Characteristic musical high-jinks for J.B.Priestley's The Foreman went to France.Refugees: From the same film, this is a poignant accompaniment to the long march of refugees. As Ernest Irving, the film's musical director, put it, "this really makes your feet sore and your knees sag."Young Siegfrieds: This lively movement comes from the music that Walton composed for The Battle of Britain in 1968, with the assistance of Malcolm Arnold, but which the film's producer rejected. It portrays first the Berliners, cheerfully ignoring the black-out and then, in the trio, the Young Siegfrieds of the Luftwaffe, courtesy of a parody of Siegfried's horn call from Wagner's opera.Romance: A soldier and a Dutch refugee snatch a few tender moments together in Next of Kin.Epilogue: At the end of The Foreman went to France, the French look forward with hope and optimism to eventual liberation.- Paul HindmarshDuration: 14.00
Estimated dispatch 7-14 working days
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£40.00
A Wartime Sketchbook (Brass Band - Score only) - Walton, William - Hindmarsh, Paul
Early in 1941 William Walton, 39, received his call-up papers. He was by then one of the most eminent of British composers and was exempted from military service on condition that he provided music for films deemed to be of 'national importance'. Scoring Lawrence Olivier's Shakespeare epic Henry V in 1943 was the most substantial of these wartime projects. His role in patriotic films from 1941 and 42 like The Foreman went to France, Next of Kin, Went the day Well and The First of the Few was to provide appropriate title music and some underscoring at key moments. Walton extracted the most substantial portions of the latter as the popular Spitfire Prelude and Fugue for orchestra. The remaining music remained unpublished until 1990, when Christopher Palmer assembled the highlights into A Wartime Sketchbook. I was intrigued to hear these examples of Walton's wartime music and having discovered that they would fit naturally and idiomatically onto the brass band, I arranged six of the numbers into a suite for Besses o' th' Barn Band, which I was conducting at the time.In 1995 the brass band suite was recorded by the famous Black Dyke Mills Band as part of an all Walton album which I produced for the ASV label (ASV CD WHL 2093). This award- winning CD also included Walton's First Shoot, in the edition by Elgar Howarth, my transcription of movements from Music for Children and two substantial brass versions by Edward Watson of the suite from Henry V (with narrator) and the March and Siegfried Music from The Battle of Britain music.Prologue: This is the stirring title music from Went the day Well, a screen play by Graham Greene about a German airborne invasion of an English village. The main theme leads toBicycle Chase: Characteristic musical high-jinks for J.B.Priestley's The Foreman went to France.Refugees: From the same film, this is a poignant accompaniment to the long march of refugees. As Ernest Irving, the film's musical director, put it, "this really makes your feet sore and your knees sag."Young Siegfrieds: This lively movement comes from the music that Walton composed for The Battle of Britain in 1968, with the assistance of Malcolm Arnold, but which the film's producer rejected. It portrays first the Berliners, cheerfully ignoring the black-out and then, in the trio, the Young Siegfrieds of the Luftwaffe, courtesy of a parody of Siegfried's horn call from Wagner's opera.Romance: A soldier and a Dutch refugee snatch a few tender moments together in Next of Kin.Epilogue: At the end of The Foreman went to France, the French look forward with hope and optimism to eventual liberation.- Paul HindmarshDuration: 14.00
Estimated dispatch 7-14 working days
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