Results
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£59.95Concerto Grosso (Brass Quartet with Brass Band - Score and Parts) - Gregson, Edward
Concerto Grosso was commissioned in 1972 by the Scottish Amateur Music Association for the National Youth Brass Band of Scotland.I took as my starting point the 18th century concerto grosso form with its element of contrast between small and large instrumental forces. The concertino (solo) group consists of cornet, horn, trombone and euphonium. The work is cast in one continuous movement (the old concerto grosso was often in three or more). The single movement is cast in the arch-like version of the ritornello form which was the mainstay of the baroque concerto. There are three main episodes which alternate with the ritornello and these exploit slow lyrical melodies as well as more rhythmically charged music. The final coda contrasts the ritornello material with the concertino group's own material, bringing the work to a resounding conclusion.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£37.95The Accursed Huntsman (Brass Band - Score only) - Franck, Cesar - Siebert, Edrich
This work was composed by Cesar Franck in 1881, and was inspired by Burger's Ballade. The dramatic and religious character of the Poem is set from the beginning by the horns and later, by the bells.The approaching Ride is preceded by a broader passage and then, in a quick 9/8 rhythm the horns are heard again, answered by the cornets and the trombones.After some agitated passages there is a brilliant Andante movement after which the rhythm becomes more and more animated.At last the Ride appears, the gallop becoming wilder and wilder until it finally dies away in a chilling roll on the cymbal.
Estimated dispatch 7-14 working days
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£74.95The Accursed Huntsman (Brass Band - Score and Parts) - Franck, Cesar - Siebert, Edrich
This work was composed by Cesar Franck in 1881, and was inspired by Burger's Ballade. The dramatic and religious character of the Poem is set from the beginning by the horns and later, by the bells.The approaching Ride is preceded by a broader passage and then, in a quick 9/8 rhythm the horns are heard again, answered by the cornets and the trombones.After some agitated passages there is a brilliant Andante movement after which the rhythm becomes more and more animated.At last the Ride appears, the gallop becoming wilder and wilder until it finally dies away in a chilling roll on the cymbal.
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's 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 Cardinal's 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 Teresa's 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) - Berlioz, Hector - Wright, Frank
Berlioz's 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 Cardinal's 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 Teresa's 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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£59.95Voices of Youth (Brass Band - Score and Parts) - Gregson, Edward
The suite Voices of Youth is one of Gregson's earliest brass band compositions, written while he was still a student at the Royal Academy of Music in London. Voices of Youth was commissioned by the National Youth Brass Band of Great Britain and was premiered by them under the baton of Geoffrey Brand.The work has three movements:Nobility of Youth (Duration: 4.00)Sadness and Tenderness (Duration: 2.30)Gaiety (Duration: 2.45)In Nobility of Youth there are the rich sonorities beloved of Salvationist composers such as Eric Ball and, particularly, Ray Steadman Allen, whose music he admired. The modal contour of the melodies here and at the climax of the slow movement Sadness and Tenderness reveal lessons well learned from Holst and Vaughan Williams. Gaiety is probably the most interesting amalgam of all. Beginning in the harmonic world of Gilbert Vinter - whose influence Gregson readily acknowledges at this time - the music is transformed into a bravura waltz of which Percy Grainger might have been proud. It then veers off via a contrapuntal episode of academic correctness, into a coda that takes us into more adventurous harmonic realms.Duration: 10.00
Estimated dispatch 7-14 working days
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£30.00Black Bottom Stomp - Jelly Roll Morton
Ferdinand Joseph LaMothe, professionally known as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana. Widely recognised as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition in 1915. Morton is also notable for writing such standards as "King Porter Stomp", "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say". Notorious for his arrogance and self-promotion, Morton claimed to have invented jazz outright in 1902, much to the derision of fellow musicians and the critics. At the age of fourteen, Morton began working as a piano player in a brothel (or, as it was referred to back then, a sporting house). In that atmosphere, he often sang smutty lyrics and took the nickname "Jelly Roll". While working there, he was living with his religious, church-going great-grandmother; who he convinced that he worked as a night watchman in a barrel factory. After Morton's grandmother found out that he was playing jazz in a local brothel, she kicked him out of her house and told him that "devil music" would surely bring about his downfall. Born in downtown New Orleans, Louisiana, his exact birth date differs depending to whichever source you want to believe; his half-sisters claimed he was born in September 1885, but his World War 1 draft card showed September 1884 and his California death certificate listed his birth as September 1889. He died in 1941 in Los Angeles.
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£30.00Blewz - Keiron Anderson
There are many harmonic forms of the blues from a standard chord sequence to a more complex set with a circle of fifths. This bright, entertaining work is fun to play and easy to programme with a hint of jazz and a swing feel, complete with a little interplay section for bass trombone and tuba, which adds to the entertainment value of this piece.
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£30.00Blue Bombazine - Terry Johns
The word Bombazine is derived from the obsolete French word Bombasin. Largely made in the Norwich area, Bombazine is a twilled fabric made of silk used mainly in dress making and popular in England in the reign of Elizabeth I. The image and feel of warm, smooth, opulent silk is aptly suited to a solo feature for tuba. Wing Commander Duncan Stubbs and the RAF Music Service commissioned Blue Bombazine for solo tuba and brass in 2014, for Senior Aircraftman Jonathan Gawn and the RAF Central Band. It was first performed at The Royal Northern College of Music in Manchester, on the 11th April 2015 at the British Festival of Wind Bands. The music is written in the jazz idiom with a testing solo part. It is available with brass band accompaniment or brass dectet. There is also a "recital" version available for tuba and piano.
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£30.00I Saw Three Ships - Traditional
This is a traditional English carol rumoured to have originated in Derbyshire. The earliest printed version is from the 17th century and the familiar version was later published in William Sandys' collection of 'Christmas Carols Ancient and Modern' in 1833. There are numerous theories as to the meaning of the carol's words; after all, Bethlehem, the place of Jesus' birth is not a coastal location. It has been suggested that the ships are actually camels (ships of the desert) used by the Magi for their visit to the baby Jesus. My arrangement takes advantage of the traditional 'jig' style of this carol to add a little 'Celtic' flavour.
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