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£109.99Land of Legends - Andreas Ludwig Schulte
In 'Land of Legends' German composer Andreas Ludwig (what's in a name) Schulte takes you along to the fictional world of legends, myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the scene of action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate, a lot of hustle and bustle appears to be going on in the courtyard. Pages, squires and soldiers are busy attending to their arms. Beer is being brewed, flax is being spun, cattle are being tended and some craftsmen fromneighbouring villages are busily at work. In the upper chamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out, and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities, some of them sober, others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets, the bride makes her entrance at the hand of her father. Afterwards, at the party there is dancing to the music played by minstrels and of course a plentiful banquet follows.
Estimated dispatch 5-14 working days
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£54.99The Irish Dancemaster - William Vean
During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher, who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities, gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg, the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage), after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment, William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances, the Reel and the Jig. In between these two dances there is a short breathing space, during which a traditional Irish rhythm can be enjoyed.
Estimated dispatch 5-14 working days
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£54.99They are Coming - John Emerson Blackstone
There are people who are capable of planning well. They live their lives in a well-structured manner and know exactly what they have to do. On the other hand, there are also people who are the exact opposite: they want to do too many things at once and are often somewhat absent-minded, which occasionally results in frantic situations. The outcome of one such situation is 'They are coming'. John Emerson Blackstone had been working on a new composition for some time when he received a telephone call from his editor, who told him that the deadline was approaching rapidly, even worse, that it would expire at the end of that same day and that he would drop by in person to fetch thecomposition! Blackstone set to work in a frenzy and completed the last details. When his editor arrived, the piece was finished ..... and got its definitive title: 'They are coming'.
Estimated dispatch 5-14 working days
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£74.99Willow Pattern - Philip Harper
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Changby the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone. The Willow Pattern LegendOnce, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only theexotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it bestolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescueKnoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip.They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men setfire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness. Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware. NOTES ON PERFORMANCEMute Requirements:Metal mutes soprano cornet, repiano cornet, 2nd cornets, 3rd cornets (6 in total) Cup mutes all cornets and trombones (10 + 3) Harmon mutes soprano cornet, solo cornets, repiano cornet (6) Percussion Requirements:There are two parts for percussion on the score. The minimum requirements are as follows: 2 players - Timpani, 2 Large tom toms, 2 Wood Blocks, Triangle, Sleigh Bells, Whip, Clash Cymbals, Suspended Cymbal, Hi-hat, Glockenspiel, Xylophone, Tam tam (or susp. cym.) For performances with extra resources, and to achieve closer authenticity, the full requirements are as follows: 3 players - Timpani, 3 Taiko Drums played with thick wooden sticks (or Large tom toms), 2 Wood Blocks, Triangle, Chinese Bells (or Sleigh Bells), Whip, Clash Cymbals, Chinese Cymbals (small clash cymbals approx 12"), Suspended Cymbal, Glockenspiel,Xylophone, Tam tam
Estimated dispatch 5-14 working days
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£154.99The Divine Right - Philip Harper
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new countrys people had risen up against the regimes and dictatorships which had prevailed for generations, leaving manynations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.My music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted. Most nations have had, or probably will have, their own Arab Spring, including my own, the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads.The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer, a moan as I never heard before and desire I may never hear again.The music descends to emptiness. The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering,irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times. This defining episode in Englands history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote: Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant. Philip Harper, 2013
Estimated dispatch 5-14 working days
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£127.30Epilogue from La La Land - Justin Hurwitz - David Hveem
Epilogue is taken from the movie La La Land, released in 2016. La La Land won several important prizes that year, and especially the soundtrack written by American composer Justin Hurwitz received widely acclaim.Epilogue is a medley, presented in the original soundtrack, consisting of many of the most well-known themes from the movie.This arrangement was commissioned by Jaren Hornmusikkforening in 2018. The arranger has tried to transcribe the original music as closely as possible. However, some parts are slightly different from the piano-based original music. There are also some changes in keys to make the music more playable for brass band.The piece changes style and tempo often (as the original soundtrack), which requires good abilities for both flexibility and precision in the band.There are also several rhytmically demanding parts, as well as challenging parts for soloists.
Estimated dispatch 5-14 working days
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£59.99A Lyrical Duet - Bert Appermont
This attractive composition focuses on the lyrical qualities of two solo instruments: tenor horn and baritone. An expressive theme is initially performed by the baritone; then the tenor horn takes over this melody. A rich dialogue arises, in which the soloists make music in sweet harmony, and then in a 'call-and-response game'. In the B section, the lyricism becomes more virtuosic, and a more playful character comes to light. There is then a gradual build-up to a grand tutti in which the opening theme resounds again. The work ends in a reverie, echoing the dreamy beginning.A Lyrical Duet was commissioned by tenor horn artist, conductor, and teacher Tim De Maeseneer, and is dedicated to him and Katrina Marzella. The work can be heard on Tim's solo CD, Beyond the Paradox, a project that was created in collaboration with Brass Band Willebroek and its conductor Frans Violet.
Estimated dispatch 5-14 working days
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£60.99Klezmeriana - Jan de Haan
The instrumental music of the Yiddish-speaking Jews, especially those of Eastern Europe, is known as klezmer. This terminology was originally used in Jewish cultural life as the name of a musician who played at weddings. At Jewish weddings, which usually last several days, klezmer musicians played not only dance music but also ceremonial music - for example during the wedding ceremony, and also music that was listened to during the wedding feast. Originally, there was no special term for this style of music. It was simply referred to as 'Jewish wedding music'. In the 1970s, the music - which is actually a fusion of different influences - enjoyed a resurgence in popularity and came to be known as klezmer. This music contains not only the sounds of the Balkans, but also influences of oriental and gypsy music too. Jan de Haan used no original klezmer melodies for Klezmeriana, but composed a series of sound-alike in an instrumentation for brass band.
Estimated dispatch 5-14 working days
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£105.20Our Last Summer - Benny Andersson - Bjørn Morten Kjærnes
An exciting arrangement where almost all players have a bit of the melody line. There are many opportunities to give individual musicians soloistic challenges. Any bandmember should find something interesting in this piece. It will be possible to add vocals to the arrangement. A lovely melody with great expressions.Our Last Summer" is a song by the Swedish pop group ABBA from their seventh studio album, "Super Trouper," released in 1980. The song is indeed featured in the musical "Mamma Mia!", a little bit shortened and with small changes in the lyrics. The musical premiered in London's West End in 1999 and is a duet performed by the characters Harry Bright and Donna Sheridan, reflecting on their past romance during a summer spent in Paris.The song is primarily sung by Bjorn Ulvaeus, with backing vocals provided by Agnetha Faltskog and Anni-Frid Lyngstad, the female members of ABBA. Their harmonies contribute to the song's nostalgic and wistful atmosphere. The lyrics vividly describe the memories of the summer spent together, including scenes of walking along the Seine River in Paris and listening to French songs. The song also touches on the passage of time and the realization that the summer romance has ended.While not released as an official single in most countries, "Our Last Summer" still received considerable airplay and became a fan favorite. It charted in some European countries and has remained popular among ABBA fans over the years.
Estimated dispatch 5-14 working days
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£115.60Kanskje kommer Kongen - Øystein Dolmen - Reid Gilje
"Kanskje kommer Kongen" ("Perhaps the King is Coming") is yet another example of Knutsen and Ludvigsen's creativity and imagination.The arrangement begins with a short fanfare in the introduction. From letter B, the melody is carried by horn and trombone with a majestic character.Ensure good precision in the accompaniment. From letter C, the style is Latin-inspired, resembling Samba. Alternative percussion solutions are possible here.From letter D, there is a pizzicato effect in 8th-notes, with sonorous melodic lines. The style becomes majestic and elevated again from letter E,then returns to the Latin style from letter F until the end.Reid Gilje
Estimated dispatch 5-14 working days
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