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£29.50Ye Morning Stars of Light - Andi Cook
This composition takes the well-known hymn tune Diadem and turns it into an epic concert work that all bandsmen will enjoy getting their teeth stuck into. Big organ like chords fill the opening stanza's before the work sets off full of life with fragments of the familiar tune hinted at throughout. There is a great energy to this piece and makes a great way to begin or finish a concert. Certainly one not to be missed.
In Stock: Estimated dispatch 1-3 working days
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£30.00Edward Gregson: Music of the Angels, for Symphonic Brass and Percussion
DescriptionProgramme NoteMusic of the Angels is a dramatic work of some 16 minute's duration, scored for a large symphonic brass ensemble, including seven trumpets, and percussion. The percussion section deploys 'dark' instruments such as three tam-tams, a bass drum and two sets of timpani.The title of the work is based on a quotation from the Book of Revelations:And I saw the seven angels which stood before God; and to them were given seven trumpetsThus, the idea behind the work is a dramatic one and the composer has emphasised this by the partial spatial arrangement of the ensemble, with six solo trumpets standing centre stage, but behind the main ensemble, and the seventh trumpet off-stage throughout.The work opens with a four-note motif, dominant throughout the work, announced initially by four off-stage horns and answered by fanfare figures on four solo trumpets. Then in turn each of the first four solo trumpets announce their own cadenzas before joining together, independently playing their own music. This reaches an intense climax before subsiding into slow music which might be described as a Kyrie eleison - a lament for humanity - a cantilena for flugel horn and euphonium, accompanied by trombones. The drama soon returns with the entry of trumpets 5 and 6, playing music that is fast, more urgent and foreboding, and describing in musical terms the horsemen of the Apocalypse.At the climax of this section trumpet 7 enters dramatically, representing the words of the seventh angel ... and time shall be no more. The opening four-note motif is here transformed into a cadenza of epic proportions, to the partial accompaniment of three tam-tams (representing the Holy Trinity). The ensuing scherzo, scored for the ensemble, is fast and furious, but despite the somewhat desolate mood of this music (briefly interrupted by the re-appearance of trumpet 7), it slowly moves towards a more optimistic conclusion, transforming the 'lament for humanity' music into an affirmative and triumphant climax.This work has been commercially recorded on a critically acclaimed CD from London Brass on the Chandos label, available HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£89.00
At the gates of Asgard (Bra) - Stijn Aertgeerts
A fierce Viking dies in battle and arrives at the gates of Asgard. The theme of the Viking is immediately present at the opening of the piece. He fights till his last breath before ascending to Asgard. In the slower movement, he can see the breath-taking beauty of the landscapes behind the gates, but before entering he has to prove his worth first in trial and combat. In the finale of the piece, the Viking finally gets to enter Asgard and spend his afterlife there.
Estimated dispatch 7-14 working days
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£32.00The Cistercians
DescriptionThe Cistercianswas written during December 2003 and January 2004 as an entry for Morecambe Band's Centenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band's 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.The music was inspired by visits to three of Britain's great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex administration and hierarchies.In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style "tenor" - a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section - our medieval abbey has become a bustling trade centre - before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another "tenor" derived from the opening motifs. A short development section, including the folk dance "hocketing" round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.Performance Notes:Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.You can follow a preview of the score in the video below.
Estimated dispatch 7-14 working days
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£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
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£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
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£89.95The Trumpets of the Angels (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95The Trumpets of the Angels (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£24.95SALT OF THE EARTH, FINALE (Brass Band Parts) - Scott, Andy
Brass Band parts only. A full band arrangement created by the composer from the third movement of 'Salt of the Earth', a Concerto for Tuba & Brass Band is a fiery mix of Latin rhythms and big band power! With a virtuosic introduction from the solo cornets and percussion, the full band then enters with the catchy melody, before a two part contrapuntal passage that leads into a series of short 'solo breaks'. The main theme returns, re-scored for added impact, before an extended contrapuntal section, which leads to two closing paused chords, which may be separated by an optional extended drum/percussion solo if required. Dur: 3:30
Estimated dispatch 7-14 working days
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£15.00
SALT OF THE EARTH, FINALE (Brass Band Score) - Scott, Andy
Brass Band score only. A full band arrangement created by the composer from the third movement of 'Salt of the Earth', a Concerto for Tuba & Brass Band is a fiery mix of Latin rhythms and big band power! With a virtuosic introduction from the solo cornets and percussion, the full band then enters with the catchy melody, before a two part contrapuntal passage that leads into a series of short 'solo breaks'. The main theme returns, re-scored for added impact, before an extended contrapuntal section, which leads to two closing paused chords, which may be separated by an optional extended drum/percussion solo if required. Dur: 3:30
Estimated dispatch 7-14 working days
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