Results
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£60.99Remembrance Day - Jacob de Haan
Remembrance Day (Totengedenken) is a chorale-like piece in memory of those who have died in service. The composition is based on a text from Totengedenken (Commemoration of Those Who Have Died). This narrative text is provided in four languages, and is intended to be spoken (using a microphone) ad libitum during the performance. Choir parts are also available to complement the performance.
Estimated dispatch 5-14 working days
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£119.50Me and Mrs. Jones - Kenneth Gamble - David Hveem
Me and Mrs. Jones was written by Kenny Gamble, Leon Huff and Cary Gilbert in 1972, and was first recorded by Billy Paul on the album 360 Degrees of Billy Paul. The song is about a man who has an affair with Mrs. Jones, and how the two secretly meet every day in the same cafe, even though they may know it's not quite right: "We got a thing going on/we both know that it's wrong/but it's much too strong/to let it go now." Paul has stated that he was sure the song was going to be a hit even before it was released, as "it's a song everyone can relate to", but already from the start the lyrics were considered somewhat controversial and the song were banned from several radio stations. Nevertheless, it became one of the best-selling singles of 1972 and Paul received a Grammy for Best Male R&B Vocal Performance.Well known is also Michael Buble's version of the song, released on the album Call Me Irresponsible in 2007. It is his version that has been the inspiration for this arrangement, which brings out even more of the jazz elements Buble has found in the song. The arrangement is quite demanding for the ensemble, and requires great rhythmic precision in particular.
Estimated dispatch 5-14 working days
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£159.99Omaggio - Philip Sparke
Omaggio was commissioned by Steven Mead in celebration of his 60th birthday and in memory of his father, Rex. He gave the premiere of the brass band version in Rome in March 2022, accompanied by the Italian Brass Band conducted by Filippo Cangiamilla. The concert band premiere took place on 6th July that year as part of the 2022 Spanish International Tuba Euphonium Conference, accompanied by the Banda municipal de musica de Malaga. The concerto is set in 3 continuous movements, which are united by a recurring syncopated interval of a fifth. The first movement, FANTASIA, opens with this motive accompanying an extended monologue for the soloist. This is followed by a lengthy bridge passage by the band (piano), which is eventually joined by the soloist, who guides the music back to the opening soliloquy, leading to an energetic central section. This develops until the opening material again returns to introduce the second movement, BALLAD, which revolves around an expressive melody for the soloist, interspersed by accompanied cadenzas. The third movement, THE KING TRIUMPHANT, pays homage to Steven's late father, Rex, and its title alludes both to Rex's name ('Rex' being Latin for 'king') as well as his love of Eric Ball's Salvationist masterpiece, The Kingdom Triumphant. The finale is an energetic tour-de-force featuring an acrobatic 6/8 melody, which is interrupted twice by the magnificent hymn tune, Helmsley, which Ball uses so effectively in The Kingdom Triumphant. A galloping coda brings the work to a close.
Estimated dispatch 5-14 working days
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£72.99English Dances, Set 1, Op. 27: No. 1 - Sir Malcolm Arnold - Ray Farr
English Dances, Set I, opus 27, is a light classic composition that was written for orchestra by the British composer Malcolm Arnold in 1950. The set contains four dances that continue without pause: the individual movements are indicated by the tempo markings. The work came about at the request of Bernard de Nevers, at the time the head of publisher Alfred Lengnick & Co., who asked Arnold to write a suite of dances as an English counterpart to Dvo ak's Slavonic Dances and Bartok's Romanian Folk Dances. The premiere took place in the spring of 1951, played by the London Philharmonic Orchestra, conducted by Sir Adrian Boult. Following the success of the first set, DeNevers asked the composer to write a second one, which Arnold completed the next year (Op. 33). The Andantino from the first set has been skilfully arranged and orchestrated for brass band by Ray Farr.
Estimated dispatch 5-14 working days
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£115.60Vidda - Ole Edvard Antonsen - Ole Edvard Antonsen
I composed the song "Vidda" after I got my ultimate boy's dream fulfilled; To fly one of the Air Force's F-16 fighter jets! We flew out from Norwegian city Bodo on to the Finnmark plateau, where we flew so-called "low level" (at low altitude). It was such a great experience for me that I immediately wrote the song "Vidda" based on my experience of the trip. Here, I try to describe the meeting between the technical perfection of a machine that surpasses most of the various forces in it's escape through the magnificent scenery passing at great speed, and the pilot who is alone with both the adventure and responsibility. The drums which start the song is meant to describes theenergy in the power of the plane, while the lonely and kind of melancholy melody from the trumpet in the beginning describes the feelings of the pilot. As the song develop, we pass both the mountains and big beautiful plateaus with g-forces quivering body. Hopefully you will share some of my experiences through this song. Have a nice flight! Ole Edvard Antonsen
Estimated dispatch 5-14 working days
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£54.99Jamaica - Timothy Travis
Jamaica is an island in the Caribbean. In 1494 it was discovered by Christopher Columbus, who used it as private property until 1509. After some skirmishes it fell under British rule and the sugar trade on the island flourished. After the abolition of slavery in 1834 it was only granted Home Rule in 1944, but it remained a member of the British Commonwealth of Nations. Whereas the export of cane sugar used to be Jamaica's main export product for many years, nowadays music has taken over this role. At first American music used to be very popular on the island. Later, however, Jamaican musicians started to experiment and thus in the end created their ownmusical style called Reggae. Well-known Reggae musicians are Bob Marley and Peter Tosh. The most important instruments used in Reggae are the bass and the drums. Together they form the base for the style: the riddim. A bass drum accent on the second and fourth beat are characteristic of a typically reggae drum beat. To this syncopic patterns are often added. The rhythm guitarist plays chords in a characteristic Reggae rhythm, not on, but between the beats.
Estimated dispatch 5-14 working days
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£119.99Trimbeka - Carl Wittrock
Trimbeka is a composition which owes its existence to the anniversary of music society "de Vlecke" in Gorredijk. The name Gorredijk originates from "goor" or "gor", which means : bog. Along the marshy peat ran a "dijk" (the Dutch word for dike), called the Gordijk. The name of the village resembles that of the home town of the composer himself, who comes from a town in Twente called Goor. Three streams used to run through the area around Gorredijk. the historical name Trimbeets (Trimbeka), meaning three brooks, recalls this to mind. Gorredijk was a flourishing "Vlecke", i.e. large village, which was situated on an intersection of important connecting roads.The liveliness which this entailed is one of the distinctive elements in Trimbeka. Furthermore, ominous sounds possibly refer to the dangers of the bog, while the resonance of the merriment during the annual fair can also be heard. The slow middle movement is an ode to the beautiful landscape surrounding the village.
Estimated dispatch 5-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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£84.99Pacific Dreams - Jacob de Haan
Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting "Pacific Dreams" Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of "Pacific Dreams", he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his "Pacific Dreams".Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.
Estimated dispatch 5-14 working days
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£69.99Auld Lang Syne - Menno Haantjes
Whereas 'Auld Lang Syne' may be considered the best-known Scottish song ever, yet at the same time it is an obscure one, for there are but few people who know the complete text by heart. After the familiar 'Should auld acquaintance be forgot .....' many people take their refuge to lyrics like 'rum tee dum ta dee ..... lah, lah, lah ........... for auld lang syne'. Even in Scotland only a handful of persons know the entire text and are able to give a correct rendering of it. The current lyrics have been attributed to the Scottish poet Robert Burns. Burns, however, he did not write the whole poem : after he had heard an old man sing the centuries-old Scotchballad, he wrote it down and added a number of stanzas (1788). Historical research teaches us that the ballad served many purposes, both political and religious. Nowadays, 'Auld Lang Syne' is sung as a Christmas Carol and it is also sung on New Year's Eve at the turning of the year. Apart from that, though, the song is also sung on many other occasions sometimes with different lyrics, which usually have Love, Friendship and/or Parting as their themes, as these go well with the fascinating melody. In this arrangement a low-sounding solo instrument is central. The harmonization in the accompaniment fits in perfectly with the sentiments this song will evoke. Should auld acquaintance be forgot And never brought to mind? Should auld acquintance be forgot. And days of auld lang syne? For auld lang syne, my dear, For auld lang syne, We'll take a cup of kindness yet, For auld lang syne.
Estimated dispatch 5-14 working days
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