Results
-
£74.99Olympus - Philip Harper
Selected as the test-piece for the 3rd Section Regional contests of the National Brass Band Championships 2012The music begins with a depiction of the exciting Opening Ceremony where noisy fanfares and sudden swells add to the cosmopolitan flag-waving clamour. Without a break the music leads to The Chariot Race, a fast compound-time gallop withthundering hooves in the basses and percussion, and a heroic melody introduced by the tenor horns. Chariot racing was the main equestrian event in the Ancient Greek Games, which were founded in memory of King Oenomaus. In the Greek legend he suffereddefeat in a chariot race to his son-in-law and Zeus' grandson, Pelops, but much of the music is bitter-sweet to symbolise the fact that Pelops had to cheat to win drawing parallels with some of the issues still facing modern-day athletics. A slow, mystical passage follows, describing The Temple of Zeus at Olympia. The statue of Zeus, who was honoured throughout the Ancient Games' history, was housed inside the temple and was one of the Seven Wonders of the Ancient World. Themusic depicts this period of the dawn of one of mankind's most ancient civilisations and there is a series of solo passages above a drone. The next section is called The Olympic Flame and a broad and lyrical anthem-like melody develops slowly in the euphoniums, which gradually ascends until the horns can take it over before passing upwards again to the cornets (Higher). The musicbursts into bright life at the lighting of the flame and the regular rhythmic pattern which has been established goes through an accelerando (Faster). The final section is called The Olympic Truce and aims to capture the cooperative spirit of the ancient practice of ending wars for the duration of the games. The anthem-like melody makes an affirmatory return (Stronger) and the work ends asit began with a blaze of colour and a real sense of optimism and global celebration. "Citius, Altius, Fortius" (Faster, Higher, Stonger)NOTES ON PERFORMANCEPercussion requirements: 1 to 3 players (3 Timpani, Snare Drum, Tenor Drum, Cymbals, Glockenspiel, Triangle)
Estimated dispatch 5-14 working days
-
£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
-
£35.00A Song for Bram (Brass Band - Score and Parts) - Gregson, Edward
A Song for Bram is a short work, originally composed piano and brass band, and is dedicated to the memory of Bramwell Tovey, a close friend and colleague of the composer, and a conductor, composer, pianist and musician of huge talent, who sadly passed away before his time in the summer of 2022. In this short piece the composer has tried to imagine what kind of tune Bram would have improvised at the piano, something he frequently engaged in. No doubt it would have been a mixture of bluesy jazz, hymn tune, and love song, and this is how the solo piano takes off. In the middle section of a what is a simple tertiary structure, introduced are quotes from two hymn tunes Bram particularly loved, never having forgotten his Salvation Army roots. Bram's 'Song' returns, this time on a plaintive flugelhorn horn, and which reaches a climax with the full band before receding, literally, into the distance.....(to a new life beyond?).Duration: 6.00
Estimated dispatch 7-14 working days
-
£40.50A Song for Bram (Piano Solo with Brass Band - Score and Parts) - Gregson, Edward
A Song for Bram is a short work, originally composed piano and brass band, and is dedicated to the memory of Bramwell Tovey, a close friend and colleague of the composer, and a conductor, composer, pianist and musician of huge talent, who sadly passed away before his time in the summer of 2022. In this short piece the composer has tried to imagine what kind of tune Bram would have improvised at the piano, something he frequently engaged in. No doubt it would have been a mixture of bluesy jazz, hymn tune, and love song, and this is how the solo piano takes off. In the middle section of a what is a simple tertiary structure, introduced are quotes from two hymn tunes Bram particularly loved, never having forgotten his Salvation Army roots. Bram's 'Song' returns, this time on a plaintive flugelhorn horn, and which reaches a climax with the full band before receding, literally, into the distance.....(to a new life beyond?).Duration: 6.00
Estimated dispatch 7-14 working days
-
£43.99The Divine Right (Brass Band - Score only) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This 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 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 on 30 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 England's 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.Duration: 17.00
Estimated dispatch 7-14 working days
-
£104.99
The Divine Right (Brass Band - Score and Parts) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This 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 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 on 30 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 England's 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.Duration: 17.00
Estimated dispatch 7-14 working days
-
£32.50Olympus (Brass Band - Score only) - Harper, Philip
Selected as the test-piece for the 3rd Section Regional contests of the National Brass Band Championships 2012The music begins with a depiction of the exciting Opening Ceremony where noisy fanfares and sudden swells add to the cosmopolitan flag-waving clamour. Without a break the music leads to The Chariot Race, a fast compound-time gallop with thundering hooves in the basses and percussion, and a heroic melody introduced by the tenor horns. Chariot racing was the main equestrian event in the Ancient Greek Games, which were founded in memory of King Oenomaus. In the Greek legend he suffered defeat in a chariot race to his son-in-law and Zeus' grandson, Pelops, but much of the music is bitter-sweet to symbolise the fact that Pelops had to cheat to win - drawing parallels with some of the issues still facing modern-day athletics.A slow, mystical passage follows, describing The Temple of Zeus at Olympia. The statue of Zeus, who was honoured throughout the Ancient Games' history, was housed inside the temple and was one of the Seven Wonders of the Ancient World. The music depicts this period of the dawn of one of mankind's most ancient civilisations and there is a series of solo passages above a drone.The next section is called The Olympic Flame and a broad and lyrical anthem-like melody develops slowly in the euphoniums, which gradually ascends until the horns can take it over before passing upwards again to the cornets (Higher). The music bursts into bright life at the lighting of the flame and the regular rhythmic pattern which has been established goes through an accelerando (Faster).The final section is called The Olympic Truce and aims to capture the cooperative spirit of the ancient practice of ending wars for the duration of the games. The anthem-like melody makes an affirmatory return (Stronger) and the work ends as it began - with a blaze of colour and a real sense of optimism and global celebration.Citius, Altius, Fortius (Faster, Higher, Stonger)Duration: 11:30
Estimated dispatch 7-14 working days
-
£74.99
Olympus (Brass Band - Score and Parts) - Harper, Philip
Selected as the test-piece for the 3rd Section Regional contests of the National Brass Band Championships 2012The music begins with a depiction of the exciting Opening Ceremony where noisy fanfares and sudden swells add to the cosmopolitan flag-waving clamour. Without a break the music leads to The Chariot Race, a fast compound-time gallop with thundering hooves in the basses and percussion, and a heroic melody introduced by the tenor horns. Chariot racing was the main equestrian event in the Ancient Greek Games, which were founded in memory of King Oenomaus. In the Greek legend he suffered defeat in a chariot race to his son-in-law and Zeus' grandson, Pelops, but much of the music is bitter-sweet to symbolise the fact that Pelops had to cheat to win - drawing parallels with some of the issues still facing modern-day athletics.A slow, mystical passage follows, describing The Temple of Zeus at Olympia. The statue of Zeus, who was honoured throughout the Ancient Games' history, was housed inside the temple and was one of the Seven Wonders of the Ancient World. The music depicts this period of the dawn of one of mankind's most ancient civilisations and there is a series of solo passages above a drone.The next section is called The Olympic Flame and a broad and lyrical anthem-like melody develops slowly in the euphoniums, which gradually ascends until the horns can take it over before passing upwards again to the cornets (Higher). The music bursts into bright life at the lighting of the flame and the regular rhythmic pattern which has been established goes through an accelerando (Faster).The final section is called The Olympic Truce and aims to capture the cooperative spirit of the ancient practice of ending wars for the duration of the games. The anthem-like melody makes an affirmatory return (Stronger) and the work ends as it began - with a blaze of colour and a real sense of optimism and global celebration.Citius, Altius, Fortius (Faster, Higher, Stonger)Duration: 11:30
Estimated dispatch 7-14 working days
-
£54.99Ayers Rock (Brass Band - Score and Parts) - Hogestein, Henk
The famous monolith Uluru (formally known as Ayers Rock) is the one of the attractions in the Northern Territory of Australia. This colossal red rock lies in the middle of a desert plain. At dusk, a beautiful spectacle develops as the setting sun envelops the rock in rose-red hues. There are tourists who used to climb the rock, while this is a taboo according to the indigenous religion of the Aboriginals. Besides, the climb is very strenuous. A walk around the rock is also an unforgettable experience. During a journey through Australia, Henk Hogestein was inspired by this rock; he composed this robust rock number to cherish the memory of it.Duration: 3:00
Estimated dispatch 7-14 working days
-
£59.99Bofors To The Fore Joseph Knight
This piece was a commission to commemorate the memory of Gunner A. E. Collins who during the second world war was engaged in an action where during an advance through Belgium heavy resistance was met and he and an officer had to cover a retreat using Bofors guns. In the final report the title of this piece was actually used by the commanding officer.The piece its self is in three movements and follows the flow of the battle. The first movement called "Advance" is cautious and has the hint of battle. It starts quietly and then builds up slowly and finishes unresolved. Movement two "Engagement" starts suddenly in 7/8 and uses cyclical rhythms and clustered chords to show the horror and chaos of battle and also the firing the Bofors guns. The third movement "Safe Return" brings all of the themes from the first two movements and finishes with "The End Of The Day". The commission stated that bugle calls and "The End Of The Day" should be included.The piece is suitable for a concert work or indeed the contest stage.J Knight 2022.
Estimated dispatch 5-9 working days
View Music