Searching for Wind Band Music? Visit the Wind Band Music Shop
We've found 4 matches for your search

Results

  • £53.20

    PHANTOM OF THE OPERA, The (Brass Band) - Lloyd Webber, Andrew - Wormald, Christopher

    Grade: Medium. Includes: The Phantom Of The Opera; Masquerade; Think Of Me; Angel Of Music; The Phantom Of The Opera (Reprise); The Music Of The Night; Prima Donna; All I Ask Of You; Masquerade (Reprise); Wishing You Were Somehow Here Again; The Point Of No Return; All I Ask Of You (Reprise); The Phantom Of The Opera. Recorded on Obrasso CD954 Forever Shining (Black Dyke Band conducted by Nicholas J Childs)

    Estimated delivery 12-14 days

     PDF View Music

  • £90.00

    The Legend of King Arthur - Peter Meechan

    King Arthur is the subject of many tales, stories, myths and legends - from his ascension to the throne by pulling the sword from the stone, his courageous battles with his fellow Knights of the Round Table, to his ultimately tragic love for Guinevere.The Legend of King Arthur is a musical portrayal of some of the most important moments in the legend.The opening of the work - a rock inspired overture - is a reference to Arthura??s final resting place (at least, so some legends have it!), the modern day Glastonbury (Avalon in the legend), and it is in this opening that we hear for Arthura??s theme.This high octane opening gives way to a mysterious section - as Merlin (the mystical wizard) places in a stone a sword, upon which was inscribed a??Whoso pulleth out this sword of this stone is the rightwise born king of all Englanda?. The music describes the mystical surroundings as each of the contenders for the throne take their turn - to no avail - and with a return to the original theme, we hear Arthur pull the sword from the stone, to become King of England.Next we hear a depiction of Arthura??s greatest victory in battle ??" The Battle of Mount Badon. He finally defeated the Saxon invaders of Britain - over 900 Saxons perished - and the victory brought about an extended period of peace. Arthur is portrayed as brave, bold and confident as he and his Knights end years of invasion.The penultimate section of the work tells the tale of Arthura??s tragic love for Guinevere - his traitorous wife, who through her infidelity with Sir Lancelot (Arthura??s most trusted Knight), ultimately leads Arthur in to his final battle with his nephew, Mordred.We hear the final bitter battle, which eventually ends with only Arthur and Mordred fighting. Arthur is wounded, fatally, by his nephew -at which point we hear with a sudden and dramatic sounding of Arthura??s theme - and is taken to Avalon to die.The Legend of King Arthur is dedicated to Michael Bach and Brass Band BA?Argermusik Luzern, who commissioned the work.

    Estimated delivery 12-14 days
  • £64.95

    The Flowers of the Forest (Brass Band - Score and Parts) - Bennett, Richard Rodney - Hindmarsh, Paul

    In a preface to the score, the composer explains that ‘the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man’. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy’s tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett’s march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.

    Estimated delivery 12-14 days
  • £34.95

    The Flowers of the Forest (Brass Band - Score only) - Bennett, Richard Rodney - Hindmarsh, Paul

    In a preface to the score, the composer explains that ‘the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man’. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy’s tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett’s march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.

    Estimated delivery 12-14 days