Results
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£134.99Mirage - Jan de Haan
The composition Mirage takes inspiration from the legendary ghost ship "The Flying Dutchman", a story deeply rooted in maritime folklore. Cursed to wander the oceans forever, the ship often looms like a mirage on the horizon - a mysterious apparition in which reality and illusion blend intangibly.In Mirage the music tries to bring this mystical appearance to life. The piece begins with an atmosphere of mystery and wonder, creating the illusion of a mirage. The listener is taken to the vast sea, where the boundaries between the real and the unreal blur and the ghostly silhouette of the ship gradually becomes visible. Suddenly the tone changes. Powerful rhythms and stormy harmonies follow, expressing the ship's battle against the raging forces of nature. After this intense section, in which the musicians are pushed to their limits, the tranquility of the sea returns. The recurring mirages inspired the composer to create a lyrical middle section, in which various soloists tell their stories within this legend. In the final part, the sails are hoisted again, and the three-master continues its endless journey.
Estimated dispatch 5-14 working days
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£91.99Fanfares, Songs & Dances - Philip Sparke
Fanfares, Songs & Dances was commissioned by Brass Bands England, the Lithuanian Brass Band Association and the Dutch National Brass Band Championships (NBK), and first performed at the 43rd 'NBK' in October 2024. The work is played in three linked movements: FANFARES opens in robust fashion with a sequence of fanfare-like statements, initially featuring the horns, whose modal theme includes a figure that will reappear throughout the work. Euphoniums and then cornets introduce a second theme, which is followed by a third, again initiated by the horns. Baritones then change the mood with a more-lyrical theme, which builds to a climax, eventually leading back to a recall of the initial fanfare theme. This gradually dissolves to introduce the second movement. SONGS continues to relax the fanfare feel with a long introduction to the movement's main theme, first appearing on solo cornet. A change of key introduces a bridge passage which leads to a sonorous chorale, which builds to a triumphal return of the cornet theme. A peaceful coda leads to the final movement of the work. DANCES is a scherzo-like movement based around a series of rhythmic melodies in triple time, which lead to a majestic return of the 2nd movement's chorale theme under cornet figuration. The opening dance theme returns and heralds a joyous coda.
Estimated dispatch 5-14 working days
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£154.99Hypercube - Oliver Waespi
Hypercube is a musical narrative partly inspired by the architecture of the Grande Arche de la Dfense in Paris whose shape has been compared to a hypercube.With this landmark building as a starting point, the piece explores the poetry and reality of urban landscapes. In the course of the piece, these contrasting elements are being torn into a dramatic and virtuosic development in extended sections named 'Le Vertige' (Vertigo).The Clouds theme returns later in a series of lyrical solos. In the final part of the piece, both the Vertigo and the Hypercube themes become the background for an ongoing acceleration, which conveys theimpression of some sort of musical Penrose stairs. Hypercube was commissioned by the Paris Brass Band and the association ADIAM 94 in 2015.
Estimated dispatch 5-14 working days
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£154.99Sunrise with Sea Monsters - Oliver Waespi
The title of this work is based on the painting of the same name by the English painter William Turner. The ambiguity and suggestive power of this seascape offers great musical possibilities. The first part of the work represents the sunrise, and depicts scenes from Greek mythology in which two sea monsters from Odyssey play their part. In Charybdis, rugged high and low sound fields contrast with a tuneful theme, veined with restlessly pulsing lines. The subsequent fragmentary movement, Sirens, is characterized by mysterious sounds and intertwined arabesques, that are increasingly overshadowed by menacing chords. Concluding the final movement is another famous musical monster: a Tarantella. Sunrise with Sea Monsters was commissioned by the Brassband Burgermusik Luzern and was premiered at the 2023 Swiss Brass Band Championships, conducted by Michael Bach.
Estimated dispatch 5-14 working days
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£134.99Crazy Twenties - Thierry Deleruyelle
Crazy Twenties takes place in the 1920s, a decade otherwise known as the "Roaring Twenties". This work retraces an exceptional period in social, cultural and artistic terms, when a new generation dreamt of a new world. The work opens with a bright and lively movement, followed by a nostalgic interlude. A gracious slow movement accompanies the Parisian district of Montparnasse. Written in the style of an unstable blues, the next movement evokes characters sipping their Bloody Marys in a cafe. The final movement is a fugue with the main motif as the subject.
Estimated dispatch 5-14 working days
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£45.99L-O-V-E - Christopher Bond
L-O-V-E was written by Milt Gabler and Bert Kaempfert for the final album of the same name by the American singer and pianist Nat King Cole. This album, released in 1965, is largely regarded as a classic. Over the years, many cover versions have been made, including one by Michael Buble. In 2007, the English soul singer and songwriter Joss Stone recorded the song for the promotion campaign around the Coco Mademoiselle perfume by Chanel. Christopher Bond arranged this catchy music for brass band.
Estimated dispatch 5-14 working days
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£105.00King Arthur - Benjamin Britten
King Arthur was the first of 28 scores Benjamin Britten (1913-1976) composed for radio between 1937 and 1947. It was an ambitious dramatisation of King Arthur's life and times - part pageant, part play, partcantata - written by D.G. Bridson. This colourful suite incorporates the Introduction, a dramatic Wild Dance, some of the music underscoring the scenes for Galahad and The Holy Grail, and two vividbattle scenes, ending with The Final Battle and Apotheosis. King Arthur (scenes from a radio drama) for brass band should not be confused with a much longer orchestral suite which Paul Hindmarsh devised from the same sourcein1995. King Arthur (scenes from a radio drama) will be played by the 20 First Section finalists on 16th September 2018 at this year's National Brass Band Championships of Great Britain.
Estimated dispatch 5-14 working days
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£118.99Lions of Legends - Thierry Deleruyelle
This work was commissioned by Eurofestival. Ever since antiquity, mankind has been fascinated by the lion: symbolising courage, strength and temperance. Many have made use of the lion to represent themselves in symbols and emblems. In five movements the composer describes both the history of the lion throughout centuries, as well as the characteristics. A challenging idea to turn into music! The final movement 'King of Kings' is extremely spectacular. A great choice for thematic concerts or as a main piece in your concert or contest.
Estimated dispatch 5-14 working days
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£115.60Sjakkmatt! - Hans Offerdal
How do you experience the final thrilling minutes of a chess game when your opponent has taken the upper hand? And how does it actually feel being beaten checkmate? This piece gives you the answers! There are challenges in use of dynamics, articulation, intensity and gradually increasing tempo. Dissonances are present several places, but the voice leading is diatonic and often in repeating patterns. The whole piece is based on one single scale: Bb major scale with augmented fourth and minor seventh. It is notated as a concert Bb major scale with two accidentals. Feel free to use it during warm-up!
Estimated dispatch 5-14 working days
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£65.00Second Suite in F - Brass Band Sheet Music Full Score & Parts - LM602 - Gustav Holst
COMPOSER: Gustav HolstTRANSCRIBED : Daniel S. AugustineA brand transcription from Holst's manuscript score for brass band.A very authentic version from the original for Military Band.Can be used as a testpiece in your next own choice contestSuitable for Section 3 bands upwardsSecond Suite in FOp. 28, No. 2 (1922)1. MarchThe "March" of the Second Suite begins with a simple five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite "Swansea Town". The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional subdominant minor of Bb minor and changes the time signature to 6/8, thereby changing the meter. Usually one would modulate to subdominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitan"), it was not commonplace. The third theme, called "Claudy Banks",[2] is heard in a low woodwind soli, as is standard march orchestration. Then the first two tunes are repeated da capo.2. Song without Words "I'll Love My Love"Holst places the fourth folk song, "I'll Love My Love" in stark contrast to the first movement. The movement begins with a chord and moves into a solo over a flowing accompaniment. The solo is then repeated, forming an arc of intensity. The climax of the piece is a fermata, followed by a cornet pick-up into the final measures of the piece.3. Song of the BlacksmithAgain, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song "A Blacksmith Courted Me". There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the accompaniment has a pick up on the up-beats of each measure. The band joins in on the melody around the body of the piece and are accompanied with the sound of a blacksmith forging metal with an anvil called for in the score. The final major chord has a glorious, heavenly sound, which opens way to the final movement.This chord works so effectively perhaps because it is unexpected.4. Fantasia on the "Dargason"This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with a solo based on the folk tune "Dargason", a 16th-century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, "Greensleeves", is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections.As the movement dies down, a duet forms a call back to the beginning of the suite with the competition of low and high registers.The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time), the Dargason tormented the Irish countryside. During the Irish uprising of the late 18th century, the dargason is supposed to have attacked a British camp killing many soldiers. This tale aside, 'dargason' is more likely derived from an Old English word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.
In Stock: Estimated dispatch 3-5 working days
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