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£33.35Libera Me from 'Requiem' (Brass Band) Faure arr. Rob Bushnell
Composed between 1887 and 1890, Gabriel Faure's Requiem is not only one of his best-known works but one of the most popular piece of choral music in the Classical repertoire, coming 23rd in the Classic FM's Hall of Fame 2024. Believed to be a tribute to his father (who died in 1885), Faure himself said "My Requiem wasn't written for anything - for pleasure, if I may call it that!" It started life as a five-movement work but was later expanded to be the final seven-movement work we know today. The first version (which Faure called "un petit Requiem") was first performed on 16 January 1888, with Faure conducting, a second version premiered on 21 January 1893 before the final version (reworked for full orchestra) was played on 12 July 1900; the Requiem was performed at the composer's own funeral in 1924.The Libera Me, or Deliver Me, was actually written in 1877 and is the sixth part of the Requiem.Faure once said of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest." Upon interview, he also said, "It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience. The music of Gounod has been criticised for its inclination towards human tenderness. But his nature predisposed him to feel this way: religious emotion took this form inside him. Is it not necessary to accept the artist's nature? As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different."This arrangement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. The tenor solo is featured on the euphonium. A recording of the original composition can be found here: www.youtube.com/watch?v=fXwFNoBHCf0 Duration: 4.20 minutes approx. Difficulty Level: 4th Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass BbTimpani
In Stock: Estimated dispatch 1-3 working days
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£37.06Polonaise from 'Scenes de Ballet' (Brass Band) Glazunov arr. Rob Bushnell
Alexander Glazunov was a Russian composer who was a gifted musician from childhood. He was seen as the natural heir to the nationalist revolution that had started with the Mighty Handful. Despite quickly turning from this to absolute forms of music, taking a keen interest in ballet music, his compositions still alludes to Russian folk tunes. He wrote four dance compositions, of which Scenes de Ballet was the first in 1894. The suite Scenes de Ballet, opus 52 has eight movements and was dedicated to the orchestra of the Russian Opera, St Petersburg. First performed in 1895 at a concert of the Imperial Music Society with Glazunov conducting. This arrangement of the final movement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. A recording of the original composition can be found here: https://www.youtube.com/watch?v=BS-Yx-bmxPg Duration: approx. 5.20 minutes Difficulty Level: 2nd Section + PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1 - Snare Percussion 2 - Triangle, Cymbal & Bass Drum
In Stock: Estimated dispatch 1-3 working days
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£33.35The Hewer's Prayer (Brass Band) Steve Gibson
This music was inspired by stories of those working in the dark and dangerous conditions of the coal mines, and particularly those hewers right at the coal face. Based around an original theme, the music captures a hymn-like setting of a miner's prayer for safety. Depictions of industry and difficult times follow, but resolve into a triumphant conclusion where dark imagery give way to light. The music is the composer's proud tribute to the industrial heritage of his forebears. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 4th Section + Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion Glockenspiel
In Stock: Estimated dispatch 1-3 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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£87.99Sunday in the Park (Tenor Horn Solo with Brass Band - Score and Parts) - Sparke, Philip
Sunday in the Park was written for tenor horn virtuoso Sheona White, and commissioned by her partner, Matt Wade, as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years, having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter, Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which, whilst not being a 'Carpenters' pastiche, paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist, which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax, at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist, which brings the work to a peaceful close.Duration: 7:00
Estimated dispatch 7-14 working days
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£60.99Washington Grays (Brass Band - Score and Parts) - Grafulla, Claudio S. - Curnow, James
Claudio S Grafulla was born on the Spanish island of Minorca in 1818 and emigrated to the United States in 1838. Although he was a composer of many original works, the one that is still regarded as one of the finest marches ever written is his Washington Grays March. This arrangement strives to recreate the original lost version written for an American Civil War brass band.
Estimated dispatch 7-14 working days
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£45.00Sorcerer's Apprentice, The (Brass Band - Score and Parts) - Dukas, Paul - Littlemore, Phillip
French composer Paul Dukas wrote his symphonic poem, The Sorcerer's Apprentice, between 1896 and 1897. Subtitled 'Scherzo after a ballad by Goethe', the piece was inspired by Goethe's 1797 poem of the same name. By far the most performed and recorded of Dukas' works, perhaps it's most notable appearance was in the Walt Disney animated film Fantasia from 1940, which led to the piece becoming widely known to audiences outside the classical concert hall.. The original orchestral work is some 10 minutes in length, however this brass band transcription has been abridged to create a more manageable 6-minute work, yet retains the urgency, magic and colour of the original. Duration: 6.00?
Estimated dispatch 7-14 working days
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£62.00Set To (Brass Band - Score and Parts) - Turnage, Mark-Anthony - Houlding, Christopher
Set To is dedicated to London Brass and arranged for brass band by Christopher Houlding. It was commissioned by the Aldeburgh Foundation and received its first performance on August 24th 1993 at the Maltings, Snape. Originally divided into two movements, a pensive and richly harmonic Blues and an aptly named Bacchanale, sometimes slow but mostly fast and furious. "I remember playing the original brass ensemble version of "Set To" numerous times in the early nineties with London Brass and always wondered if the composer would consider writing something for Brass Band. As Director of The Guildhall Brass Band, a possible performance opportunity arose in 2010 and I successfully approached Mark and gained his permission to scale it up for brass band with added percussion parts. I conducted the premier of this new Brass Band version at the Guildhall School of Music & Drama in February 2011 with the composer present and he liked it. Although very contemporary compared to most brass music, I feel that Mark's easily accessible style makes this rhythmically quirky and harmonically 'bluesy' work a really interesting concert piece, suitable for any occasion" - Chris Houlding. Duration: 7.30. Suitable for Championship Section Bands
Estimated dispatch 7-14 working days
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£59.99Largo (from Winter, The Four Seasons) (Brass Band - Score and Parts) - Vivaldi, Antonio - Sparke, Philip
Antonio Vivaldi (1678-1741) stands, with Handel and J.S. Bach, as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular, he was without doubt, the most prolific composer of his age. In addition to hundreds of vocal works, including forty-nine operas, he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement, Largo, portraying time spent by a roaring fire listening to the rain pounding against the window. This arrangement for brass band retains all the warmth of the original.Duration: 3:45
Estimated dispatch 7-14 working days
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