Results
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£34.95
Excerpts from Swan Lake Act 1 (Brass Band - Score and Parts) - Tchaikovsky, Peter Ilyich - Davis, Trevor
An exciting and energetic extract from Act 1 of Tchaikovsky's first ballet, arranged for brass band by Trevor Davis.
Estimated dispatch 7-14 working days
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£17.50
Excerpts from Swan Lake Act 1 (Brass Band - Score only) - Tchaikovsky, Peter Ilyich - Davis, Trevor
An exciting and energetic extract from Act 1 of Tchaikovsky's first ballet, arranged for brass band by Trevor Davis.
Estimated dispatch 7-14 working days
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£24.50
Danse Lithuanienne - Rimsky-Korsakov - Lee Rogers
Mlada was the vision of Stepan Gedeonov in 1870 originally to be performed as a ballet, however it was not until two years later in 1872 that four of the most famous Russian composers were brought on board to score the music for the production (CA(c)sar Cui, Modest Mussorgsky, Nikolay Rimsky-Korsakov and Aleksandr Borodin being the composers in question). Much of the score was created, however the ballet never saw a production and no workable edition is currently in use. Lee Rogers has taken the light hearted 'Danse Lithuanienne' from Rimsky-Korsakov's part of the score and arranged it for brass band. The work requires dexterity from the band and is the perfect showpiece to add to any programme.
In Stock: Estimated dispatch 1-3 working days
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£25.00The Garland Waltz (Tchaikovsky arr. Dan Price)
The Garland Waltz comes from 'The Sleeping Beauty', the second of three ballets by Pyotr Tchaikovsky. Sleeping Beauty's theme is simplistic and focuses on the conflicting forces of good and evil through the characters the Lilac Fairy (good) and Carabosse (evil). The ballet's premiere in 1890 received more favourable accolades than 'Swan Lake' but Tchaikovsky never witnessed the work's true success outside of Russia as he died in 1893. By 1903, 'The Sleeping Beauty' was the second most popular ballet in the repertoire of the Imperial Ballet, having been performed 200 times in only 10 years. The waltz and other music from the ballet has been used extensively in film and television, most notably in Disney's animated version of 'Sleeping Beauty' and the recently released 'Maleficent'. Here, Dan Price faithfully transcribes Tchaikovsky's original score for Brass Band. Duration : 00:04:45 Grade : 3.5 / 4
Estimated dispatch 5-7 working days
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£99.95Malcolm Arnold Variations (Score and Parts)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£91.00The Belly Dancers - Bob Gay/Marcel Peeters
Since several years the famous Flemish composer and arranger Marcel Peeters collaborates with his friend Bog Gay to write rather light-hearted compositions for symphonic band. In this extremely colourful oriental ballet the composers introduce the listeners into mysterious and exotic places where attractive young ladies dance voluptuously. A fascinating composition with quite some humoristic characteristics and a sparkling orchestration.
Estimated dispatch 10-14 working days
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£30.00Dance of the Goblets from Swan Lake - Tchaikowsky
From one of Tchaikovsky's most celebrated ballet scores - Swan Lake - this jaunty number has been brought to life for brass band through the craftsmanship of Keith Manners.A great addition to a concert programme, bringing a popular classic to the audience and an opportunity to expand appreciation of music from the great composers.
In Stock: Estimated dispatch 3-5 working days
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£35.00Swan Lake, Finale from - Tchaikovsky
As a finisher, this music is as exciting as it gets! The 'fully-charged' finale to Tchaikovsky's most dramatic ballet score begins at whirlwind speed. This gives way to the famous tender love theme, which is skilfully developed by before the music builds to a thrilling and exciting conclusion. This piece won the prize for the best new arrangement at 'Spennymore' in 1996, played by the Fodens Band conducted by Phillip McCann.Recorded by Whitburn Band (Victory).
In Stock: Estimated dispatch 3-5 working days
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£34.95Judd: Excerpts From Swan Lake Act 1
An exciting and energetic extract from Act 1 of Tchaikovsky's first ballet, arranged for brass band by Trevor Davis.
Estimated dispatch 7-14 working days
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