Results
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£37.95Benvenuto Cellini (Brass Band - Score only)
Berliozs opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph.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 Cardinals 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 Teresas 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)
Berliozs opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph.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 Cardinals 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 Teresas 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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£87.95Masquerade (Score and Parts)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
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£44.95Masquerade (Score Only)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
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£89.95Revelation (Score and Parts)
Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell's death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell's own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne's trumpets are themselves placed stereophonically ". . . At the round Earth's imagined corners" and it is this feature that today's players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell's music re-enters in a lasting tribute to England's first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o 'erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15
Estimated dispatch 7-14 working days
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£44.95Revelation (Score Only)
Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell's death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell's own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne's trumpets are themselves placed stereophonically ". . . At the round Earth's imagined corners" and it is this feature that today's players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell's music re-enters in a lasting tribute to England's first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o 'erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15
Estimated dispatch 7-14 working days
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£37.04Three Carols at Midnight (Brass Band) Martin Cordner
Rooted in the sacred stillness of a French village on Christmas Eve, this suite by Martin Cordner draws upon traditional carols that have echoed through centuries of candlelit chapels and midnight vigils. Each movement offers a window into the Nativity story: I. Mystery: Noel Nouvelet (Christmas Comes Anew) opens with modal wonder, evoking the anticipation of Christ's coming and the quiet awe of Advent. II. Cradle: Entre le boeuf et l'ane gris (Between the Ox and the Grey Donkey) rests in pastoral tenderness, where the newborn Savior lies between humble beasts, watched over by angels and the Virgin. III. Joy: Il est ne, le divin enfant (He is born, the Divine Infant) bursts forth in celebration, proclaiming the divine birth with rustic dance and jubilant praise. Together, these carols form a musical triptych - moving from mystery to intimacy to exultation. Three Carols at Midnight invites listeners to step into the hush of a French Noel, where the sacred story is told not only in word, but in melody, memory, and light. All proceeds support the mission and ministry of The Salvation Army Delaware Command, USA. To view a rolling score video of the work please visit www.youtube.com/watch?v=fUcCluBS18Q Difficulty level: 4th Section + Duration: approx. 5.00 minutes This PDF download includes parts and score. Sheet music available at www.brassband.co.uk or www.durhammusicshop.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb 1st Cornet Bb 2nd Cornet Bb 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 Percussion 1-2 Glockenspiel
In Stock: Estimated dispatch 1-3 working days
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£48.16Perspectives from Gallipoli (Brass Band) Fendall Hill
This powerful and evocative work by Australian-New Zealand composer Fendall Hill pays tribute to the ANZAC soldiers who passed through Weymouth, Dorset during World War I. Inspired by first-hand accounts, the piece follows the emotional journey of a young soldier - from eager enlistment, through the harrowing Gallipoli campaign, to recovery and reflection in Weymouth. Structured in four movements, the music captures anticipation, fear, fierce resistance, and eventual healing, culminating in a moment of remembrance. The hymn tune Wareham -written by Dorset composer William Knapp - features prominently as a thematic thread, honouring the region's historical connection to the ANZAC legacy. A deeply moving addition to the brass band repertoire, this work is both a musical narrative and a heartfelt gesture of gratitude to the people of Dorset for their care and ongoing commemoration of the ANZACs. To view a performance of the work featuring ANZAC Brass please visit www.youtube.com/watch?v=diz9TRz7rwE Duration: approx. 8.00 minutes Difficulty Level: 1st 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 1-3
In Stock: Estimated dispatch 1-3 working days
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£33.34Menuet (Brass Band) Ravel arr. Rob Bushnell
Le Tombeau de Couperin (The Grave of Couperin) was written by Maurice Ravel between 1914 and 1917, originally a suite of piece for solo piano. Based on what was considered a traditional Baroque suite, Ravel wanted to pay homage to Baroque French keyboard music, whilst retaining his 20th-century chromaticism, making the work neoclassicist. Each movement is dedicated to the memory of a friend of the composer who died fighting in World War I. Ravel produced an orchestral version in 1919, omitting two of the original six movements. The Menuet was written in memory of Jean Dreyfus; Ravel had recuperated at his home. This arrangement 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: www.youtube.com/watch?v=jnNwEcBTSmk. Duration: Approx. 4 minutes Difficulty Level: 2nd Section + Duration: 4 minutes (depending on tempo and without any cuts) 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 - Vibraphone & Glockenspiel
In Stock: Estimated dispatch 1-3 working days
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£33.34Je te veux (Brass Band) Satie arr. Rob Bushnell
Je te veux, or I Want You, is a valse chantee (sung waltz) by the French composer Erik Satie, with lyrics by Henry Pacory. It was written for Paulette Darty, who first sang it in 1903 at La Scala, Paris, with Satie accompanying. There are various versions that Satie produced, the original for piano and voice, a version for brass 'orchestra', for full orchestra (where a trio section was added), and a version for solo piano (but including the new trio section). This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass, and is of the longer version (with the trio section). As a result, it lends itself to being performed in a various of ways, with the ensemble has the option of selecting the part of it compound ternary form to play: (A-B-A)(C-D-C)(A-B-A). A recording of the original composition can be found here: www.youtube.com/watch?v=FA3JJdmwJU8 Difficulty Level: 4th Section + Duration: 4 or 5 minutes (depending on tempo and without any cuts) 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 Drum Kit Auxiliary Percussion (Glockenspiel, Cymbal & Triangle)
In Stock: Estimated dispatch 1-3 working days