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£69.95
STARMAKER (Brass Band Set) - Ray Steadman-Allen
Described by the composer as one of his more ambitious works for brass band, this work is in three movements. Although each movement is capable of standing alone, the composer's own concept is totality with the three movements forming a composite whole. Starmaker presents in music the concept of God's creation of the universe. The frantic and sometimes harsh music of the first movement portrays the chaos from which the immortal and invisible wisdom of God created the order and structure of the heavens, with the stars and planets in their ordered places. An exquisite second movement, based on the benediction 'Now the day is over', brings a calm and ordered peace to the universe, also reminding listeners of the night sky, when God's amazing work is best viewed in all its awesome wonder. The final movement is celebratory in nature, with fragments of melodies like 'Praise to the Lord, the Almighty, the King of creation' appearing in various guises.
Estimated dispatch 7-14 working days
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£26.95Golden Lullaby (Brass Band - Score and Parts) - Wiffin, Rob
This is a song-setting giving an opportunity for some lyrical expression. It started life as a song on the subject of gold but ended up by standing alone as an instrumental piece. The gentle lilt of the 5/4 melody suggests a lullaby although the texture of the piece builds in an un-lullaby-like fashion towards the end. There is a little white-note dissonance but it is basically traditional in its language.Duration: 3.45
Estimated dispatch 7-14 working days
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£69.95Starmaker (Brass Band - Score and Parts) - Steadman-Allen, Ray
Described by the composer as one of his more ambitious works for brass band, this work is in three movements. Although each movement is capable of standing alone, the composer's own concept is totality with the three movements forming a composite whole. Starmaker presents in music the concept of God's creation of the universe. The frantic and sometimes harsh music of the first movement portrays the chaos from which the immortal and invisible wisdom of God created the order and structure of the heavens, with the stars and planets in their ordered places. An exquisite second movement, based on the benediction 'Now the day is over', brings a calm and ordered peace to the universe, also reminding listeners of the night sky, when God's amazing work is best viewed in all its awesome wonder. The final movement is celebratory in nature, with fragments of melodies like 'Praise to the Lord, the Almighty, the King of creation' appearing in various guises.
Estimated dispatch 7-14 working days
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£34.95
Starmaker (Brass Band - Score only) - Steadman-Allen, Ray
Described by the composer as one of his more ambitious works for brass band, this work is in three movements. Although each movement is capable of standing alone, the composer's own concept is totality with the three movements forming a composite whole. Starmaker presents in music the concept of God's creation of the universe. The frantic and sometimes harsh music of the first movement portrays the chaos from which the immortal and invisible wisdom of God created the order and structure of the heavens, with the stars and planets in their ordered places. An exquisite second movement, based on the benediction 'Now the day is over', brings a calm and ordered peace to the universe, also reminding listeners of the night sky, when God's amazing work is best viewed in all its awesome wonder. The final movement is celebratory in nature, with fragments of melodies like 'Praise to the Lord, the Almighty, the King of creation' appearing in various guises.
Estimated dispatch 7-14 working days
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£117.00Validus Deus - Dean Jones
With Validus Deus ('Almighty God') that is built on the contemporary Christian hymn 'How Great is our God', Dean Jones has created a work of substance. At The Great American Brassband Festival 2012 this piece got a standing ovation!
Estimated dispatch 10-14 working days
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£24.50Hinky Dinky - Traditional - John Lee
Mademoiselle from Armentires (also known as Hinky Dinky) was one of the most popular songs of World War One and known in many versions, often with extremely dubious lyrics! The origins of the jaunty melody are not certain but it could date back as far as the 1830's and may be a French military tune. The instructions on 'standing' and 'sitting' are intended as a guide only and should be adapted to suit the needs and athleticism of individual bands! A perfect addition to a band's repertoire in this WWI Centenary year.
In Stock: Estimated dispatch 1-3 working days
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£105.20Infinity Forest - Haakon Esplo
The concert overture "Infinity Forest" draws inspiration from an ancient forest, standing majestically, enveloped in mystery and secrets. Venturing into this forest, one never knows what awaits. It lies dark and quiet, interrupted by clearings where the sunlight breaks through."Infinity Forest" serves as a magnificent opening for any concert and is equally an excellent choice for competition repertoire. The music presents challenges of both technical and musical nature for all instrument groups, offering great opportunities to focus on precision, timbres, and intonation. While the lower parts are designed for easier difficulty, the lead parts present greater challenges.
Estimated dispatch 5-14 working days
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£110.00Diversions after Benjamin Britten (Brass Band - Score and Parts)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£45.00
Diversions after Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
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£120.00
Rhapsody in Black (Bra) - Andi Cook
The primary inspiration for this work comes from the composer's first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of 'Rhapsody in Black'. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....'Rhapsody in Black' is dedicated to the composer's friend and mentor John Roberts, who shares his love of both brass and rock.
Estimated dispatch 7-14 working days
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