Results
-
£69.95Transformation (Brass Band - Score and Parts) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
-
£34.95
Transformation (Brass Band - Score only) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
-
£89.99Torsion (Brass Band - Score and Parts)
Torsion was commissioned by the Leyland Band and first performed on 23 January 2010 at the Royal Northern College of Music Festival of Brass, Manchester, by Leyland Band conducted by Jason Katsikaris. This colourful and dynamic work is the most personal and ambitious that Simon Dobson composed during his residency with the Lancashire brass band. The dictionary defines torsion as the state of being twisted and the composer interprets this as the imagined dis-torsions and con-torsions of Time, Light and Sound in three contrasting movements. Simon Dobson fuses the traditional brass band sound with drive and energy of pop and funk jazz with optional digitally distorted 'echoes' providing added aural confusion at the points of climax. Although composed as a substantial concert work, Torsion would also make a challenging test-piece for contesting brass bands in the elite divisions. Suitable for Championship Section Bands. Duration: 15.00
Estimated dispatch 7-14 working days
-
£95.00Variations on a Theme of Michael Tippett (Brass Band - Score and Parts) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
-
£40.00
Variations on a Theme of Michael Tippett (Brass Band - Score only) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
-
£104.99Musica Helvetica (Brass Band - Score and Parts) - De Haan, Jan
Every year a competition for wind orchestras and brass bands takes place in Wallberg, Switzerland. Apart from a hymn and a solo piece, all orchestras also have a compulsory piece to play. The commission to create a compulsory piece for the 2012 competition fell to Jan de Haan. The composition is entitled Musica Helvetica. It takes the form of a three-part concert work, in which the last two parts flow directly from one to the other. The first part, Musica Prima, is a brisk virtuoso opening with jazz flavours woven in. The following section, Musica Sacra, offers a contrast with an extraordinarily colourful instrumentation for the gorgeous main theme. The final part, Musica Alpina, is inspired by the great variety of scenery in Switzerland. With its witty humour it makes a worthy conclusion to this beautiful tryptich.Duration: 11.00
Estimated dispatch 7-14 working days
-
£72.99Prelude and Chorale (Brass Band - Score and Parts) - Roels, Stijn
Prelude and Chorale is a scintillating, dynamic opening piece based on the brilliant finale from the earlier concert work Aureus. The latter work is built around a magnificent hymn, which also forms the common thread running through this overture.As the title suggests, the work begins with a modern 'prelude': a prologue to the actual hymn. The beginning of the hymn, especially, serves as the source of the thematic material. The hymn melody itself is immediately embellished by a counter-melody and supported by a rhythm section of bass and drums. This all leads to an energetic passage in which the proverbial stops are pulled out once more.Duration: 3:00
Estimated dispatch 7-14 working days
-
£34.95
Deliberate (Brass Band - Score and Parts) - Mackereth, Andrew
So that there is no doubt about the correct pronunciation, the title of this festival (concert) march means 'to think about'! It was written in 2010 for the Belfast Temple Music School and recalls a particularly impressive open-air meeting from the previous year's school. The main theme heard is 'Onward, Christian soldiers' while there is also reference to 'A mighty fortress is our God'.
Estimated dispatch 7-14 working days
-
£17.50
Deliberate (Brass Band - Score only) - Mackereth, Andrew
So that there is no doubt about the correct pronunciation, the title of this festival (concert) march means 'to think about'! It was written in 2010 for the Belfast Temple Music School and recalls a particularly impressive open-air meeting from the previous year's school. The main theme heard is 'Onward, Christian soldiers' while there is also reference to 'A mighty fortress is our God'.
Estimated dispatch 7-14 working days
-
£44.95
Deus Invictus - God Unconquered (Brass Band - Score and Parts) - Mackereth, Andrew
Deus Invictus draws its inspiration from well-known words from Romans 8: 38-39; 'For I am convinced that neither death nor life, neither angels nor demons, neither the present nor the future, nor any owers, neither height nor depth, nor anything else in all creation, can separate us from the love of God'. The music reflects the confidence and certainty of the scripture text while, as in everyday life, trials and tests come along which are reflected in a sequence of musical skirmishes. The work introduces the 19th century hymn 'St Albinus' to a wider audience and also includes references to the tunes 'St Margaret' and 'Rachie'. A setting of the Easter Hymn, 'Christ the Lord is risen today!', is heard followed by a final reprise of 'St Albinus'.
Estimated dispatch 7-14 working days
View Music