Results
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£64.95Purcell Variants (Brass Band - Score and Parts) - Meechan, Peter
Purcell Variants is based on Purcell's Queen Mary's Funeral Music, which consists of four canzonas (for brass), two elegies and an anthem.The first movement begins by sounding some of Purcell's original music in the trombones, underpinned by a timpani roll with the cornets articulating the beginnings and endings of the phrases. This leads into a cadenza for cornet and horn before the movement heads in different directions, leading us to its mysterious end, where the original music is sounded this time in the 'stabs' of the muted cornets.Originally composed for the funeral of Queen Mary in 1695, Purcell's original funeral music was used later that same year for Purcell's own funeral - he died aged only 34. The second movement is an elegy, inspired by this story. After an introduction (started by cornets sounding a last post), the main melody of the movement is introduced by the solo euphonium, with other solo roles for an off-stage soprano cornet, and trombone. This is then taken over by the cornets who lead us into the middle section of the movement. This is a quasi-funeral march, inspired by the image of Purcell's coffin being taken to its final resting point. The main melody returns in the euphonium, flugel horn and soprano cornet, this time more elaborated. The movement ends with a snare drum fading away - perhaps a metaphor. The Finale is a fast and furious movement combining thematic material from the two previous movements with new rhythmical ideas. This takes us through to the final passage - the triumphant return of Purcell's original theme.Duration: 13.00
Estimated dispatch 7-14 working days
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£34.95SLOW RIDE IN A STATIC MACHINE, A (Brass Band) - Lawrence, Phil
A Slow Ride in a Static Machine was inspired some time ago when my (late) Father came to visit me "down in London" as he put it. It was based not on one of his circular mishaps, but on several! He was always directed carefully, but refused to carry a map in the car! At one time when I lived in North London I would meet him outside the capital, and he would then follow be back to my place, but after I moved to East London I made him bite the navigational bullet and transverse the 'M25 Orbital'. His main problem seemed to be getting off this mesmerising circular cark park. He would often phone (in a weary tone) from the Dartford Tunnel (which is 5 junctions past the one he needed to get off at), asking me to, "bring him in" so to speak. I would always refuse. And then, he would do the opposite (especially when travelling at night), he would phone me up from near Cambridge (he'd gone the wrong way up the M11 away from London by 45 miles), and would ask where he was!The title is obviously a play on John Adams' composition, A Short Ride In A Fast Machine. This quirky tone poem starts as a wind-up by using those unwanted intervals of augmented 4th's and minor 9th's & 7th's in the main tune, before hearing the road works, the juggernauts multi horns, fender-benders, ambulance and police sirens! This then all works to a back beat on kit. The wind-up start gets to an almost Go-Go 1960's Disco middle section (the nostalgic hay-days of the open road), where our wind-up tune falls into place and we all relax as we can now drive at 42.1 mph! We DC, and then get into a right car mess in the Coda!Phil Lawrence.Duration:4:00
Estimated dispatch 7-14 working days
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£30.00Aviator - Keiron Anderson
Aviator is a bright, lively piece, which attempts to show the fast moving and complex world of the stunt pilot who mixes simplicity and style with mad aerobatic prowess. The work shows the take-off and landing, but in the middle, a multiple time signature section mixes cut common and triple time signatures to take the Band on a white-knuckle ride before returning to the main theme for a safe landing.
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£127.95Music of the Angels (Symphonic Brass Ensemble - Score and Parts)
In 1998 Gregson was commissioned by conductor Martyn Brabbins to write a short concert opener with choir to mark his debut as Music Director of the Huddersfield Choral Society. Entitled ...and the seven trumpets... this ten minute flourish is founded on a verse from Chapter 8 of the Revelation To John (The Apocalypse), the last book in the Bible: 'and I saw the seven Angels which stood before God: and to them were given seven trumpets'. The performance employed the full power of the Huddersfield Town Hall organ and the brass section of the BBC Philharmonic, including seven trumpets and four horns placed strategically around hall.The following year, when Gregson received a commission from the Cheshire-based Foden's Brass Band (conducted at that time by Nicholas Childs) for a work to mark its centenary in 2000, he turned to the first portion of ...and the seven trumpets... as the basis for an ambitious celebratory work entitled The Trumpets of the Angels. "The opportunity to create an extended work which would break out of the brass band mould was an important milestone for me," the composer says. In 2015 he was asked by Nicholas Childs to create a new performing edition without organ for the Black Dyke Band. This received its first performance in April 2016 at the European Brass Band Festival in Lille. In 2018, Gregson revisited the music for a third time, returning the opening fanfares to orchestral brass and transforming substantial portions of the 'Black Dyke' version to create Music of the Angels, a dramatic canvas for symphonic brass and percussion.An array of bells and gongs offer an unmistakable key to the source of Gregson's inspiration. Inscribed In tribute to Olivier Messiaen, the work's principal material and its sound world, but crucially not the underlying musical processes, are influenced by Messiaen's masterpiece for wind and percussion, Et exspecto ressurectionem mortuorum (1964). Music of the Angels begins with braying of horns suggestive of the start of an ancient ritual. Six 'angel' trumpeters, set behind the ensemble, answer in sequence, with the evocative sound of tam-tams creating the Messiaen-like aura. Once the horns have reached the performing space, four of the trumpeters deliver highly contrasting fanfare cadenzas. At the climax of this episode, the individual fanfares are presented together, as if, perhaps, to reflect the Biblical writer's apocalyptic visions of hail, fire, seas of blood and the cataclysmic destruction of man and beast.This powerful vision of death and destruction gives way to a prayerful lament, re-imagining a sung Kyrie Eleison from the 'Black Dyke' edition, with flugel horn and euphonium obligati. The hushed atmosphere is broken by tenor and side drums, and trumpets five and six, which gallop away like the Horsemen of the Apocalypse. In the biblical account their steeds had 'heads like lions with fire and smoke and sulphur issuing from their mouths'.As the reverberation of a dramatic climax dies we hear the entry of the seventh trumpet, from 'on high', blazing forth with a version of the main that extends across the entire compass of the instrument - almost three octaves. Supported by a 'holy trinity' of gongs, an 'epic' final cadenza introduces new material which is further developed in a frenetic final section. This is announced by two sets of timpani, to the left and right. Braying brass (euphoniums and horns) once more adds an air of foreboding. As the music builds towards a magisterial conclusion, the Messiaen-inspired tritones of the principal motif are smoothed out into perfect 5ths and combined with the earlier material in a full-voiced chorale, over which the seventh trumpet blazes in triumph.- Programme note by Paul HindmarshScored for1 Trumpet in E flat (Trumpet 5)6 Trumpets in B flat (Trumpet 4 doubling Flugel Horn)4 Horns in F3 Tenor Trombones1 Bass TromboneEuphonium2 Tubas2 Timpani (Percussion 3 doubles Timpani 2)Percussion (3 players): 3 Tam-tams, 3 Suspended Cymbals, Bass Drum, Tenor Drum, Snare Drum, Tubular Bells.Duration: 16.00
Estimated dispatch 7-14 working days
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£45.00Triumph Series Band Journal July 2012 Numbers 1227 - 1230
No. 1227 March - Carol Medley (Noel Jones)This march features three carols, 'God rest ye merry, gentlemen', Hark! The herald angels sing' and 'Deck the Hall' together with brief references to others in a medley form. A couple of these references are somewhat camoflaged which provides further interest.No. 1228 Euphonium Solo - The Saviour's Name (Erik Silfverberg)A setting of Jane Clarke's lovely melody set to familiar words, 'There is a name I love to hear'.No. 1229 (1) Carol Arrangement - While shepherds watched (David Rowsell)A four-verse setting of the 16th Century tune, 'Winchester Old' commonly associated with the carol, 'While shepherds watched their flocks by night'.No. 1229 (2) Song Arrangement - Time to be holy (Paul Sharman)This arrangement of George Cole Stebbins' tune was originally made for the 2010 World Youth Convention in Sweden, the theme of which was 'Time to be holy'.No. 1230 There is a redeemer (Kenneth Downie)Melody Green-Sievright's popular song, 'There is a redeemer' was first published in 1982, 30 years before the appearance of this new setting.
Estimated dispatch 7-14 working days
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£34.95Song for the Skies (Eb Bass Solo with Brass Band - Score and Parts)
Song for the Skies was commissioned by Tuba virtuoso Les Neish and was given its world premier on the December 9th 2010 with the James Madison University Brass Band in Harrisonburg, Virginia, USA.Les asked me to compose a slow melody that highlights the wonderful sonorous sound of the Tuba. I am a big fan of Les and of the instrument and knowing the capabilities of Les as a soloist I wanted to experiment with the range and colour of the instrument in this solo.After a warm introduction from the ensemble the soloist enters almost timeless over the muted cornets. The melody when it is first heard has a somewhat haunting Celtic feel to it. It is intentionally marked as con rubato so that the soloist can really put their own musical stamp on the music. As the haunting melody repeats again this time in a change of key the accompaniment takes more of a role within the piece of music performing counter melodies within this second section.The middle of the piece introduces a new secondary melodic device that serves as an introduction to the original melody played in all its glory by the ensemble. This dies away to leave the second half of the melody in the euphoniums and baritones as the soloist plays a soaring counter melody in the highest register of the instrument.The piece starts to return home with a recapitulation of the introduction followed by the second part of the original melody by the soloist. After a momentary reflective solo from the soloist the introduction is used for a final time before the tuba guides us home to conclude.For the soloist, there are a number of occasions where the opportunity to play in the upper register of the instrument arises. However, I have also given the opportunity for the soloist to play various passages down the octave so it suits the performers playing style and range.Song for the Skies is very simple yet beautiful and I feel it suits the playing of the Eb Tuba perfectly. I hope you enjoy performing it.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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£34.95The Fire and the Phoenix (Trombone Solo)
Trombone Solo with Brass BandThe Fire & the Phoenix (2015) was commissioned by Brett Baker in early 2015 as the opening track to his solo CD 'Myths & Legends'. Whilst structurally a single-movement work, it is presented so that it can link directly into the next work on the CD, adding to a continuous theme comprising a number of pieces from a number of composers.Opening with huge strident chords in the full band, the representation of the phoenix is instantly reflected; bold, powerful and a bird of great intensity. This makes way for a more mystical section marked 'distant' which reflect the beauty of the Phoenix and it's mythical nature where the trombone soars up into its higher register with a sweeping melody.Soon after, the music takes a sharp turn, becoming dramatic and instantly moving away from the mystical mood created previously. Here, we imagine the Phoenix catching fire, burning intensely with huge flames as it gradually turns into ash. We reach a tonic pedal point in the music, over which chord progressions subtly weave in and out of the texture. Here, we imagine the Phoenix rising from the ashes, with the dynamics gradually increasing to reflect this, slowly taking shape as it is born again.A return to earlier material follows, this time manipulated to reflect the Phoenix in its new form - the same bird; the same animal; but at the same time different. A beautiful chorale-like passage is heard before the music transports us back into a magical land, where delicate rhythmic ideas are juxtaposed against bolder lower chords; both ideas together transporting the listener forward into the next piece.
Estimated dispatch 7-14 working days
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£29.95
The Land of the Long White Cloud (Score Only)
Dating from 1979, The Land of the Long White Cloud (Aotearoa) was Philip Sparke's first test-piece. It was commissioned by the New Zealand Brass Band Association for their 1980 National Championships (their centenary year) and set for the European Brass Band Championships, the same year, at the Royal Albert Hall in London. Aotearoa was the name given to New Zealand by its Polynesian settlers whose first sight of the islands was a long, flat cloud lying low over the land. The work has no specific programme although many have seen pictures of the surging ocean in the opening bars. A faster dance-like section leads to a slow, haunting solo for soprano cornet; this is taken up by the whole band before earlier material returns. The dance-like tune is, this time, given a fugal treatment and the opening bars return to close the work.Philip Sparke was born in London and studied composition, trumpet and piano at the Royal College of Music, where he gained an ARCM. It was at the College that his interest in bands arose. He played in the College wind orchestra and also formed a brass band among the students, writing several works for both ensembles.At that time, his first published works appeared - Concert Prelude (brass band) and Gaudium (wind band). A growing interest in his music led to several commissions, his first major one being this featured piece for the Centennial Brass Band Championships in New Zealand - The Land of the Long White Cloud. He has written for brass band championships in New Zealand, Switzerland, Holland, Australia and the UK, including three times for the National Finals at the Royal Albert Hall.In September 2000, he was awarded the Iles Medal of the Worshipful Company of Musicians for his services to brass bands and in 2005 Music of the Spheres won the National Band Association/William D. Revelli Memorial Band Composition Contest. In 2011, he received the BUMA International Brass Award for his contribution to brass music.His conducting and adjudicating activities have taken him to most European countries, Scandinavia, Australia, New Zealand, Japan, Taiwan, South Korea, Canada and the USA. In May 2000, he took the major step of becoming a full-time composer by founding his own publishing company, Anglo Music Press. The company is devoted to publishing his brass band, concert band, fanfare band and instrumental publications as well as recordings dedicated to his latest works.
Estimated dispatch 7-14 working days
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£79.95Neverland - Christopher Bond
"All children, except one, grow up" wrote J.M. Barrie about Peter Pan in 1911; the first line and an expression of beautiful melancholy and fantasy, coming to represent one of the best-loved children's stories of the twentieth century. 'Peter & Wendy', as the book was first released, has subsequently been transformed into adaptations for film and stage, with subsequent books based on this iconic tale. In writing this new work for brass band, the composer has taken three of the main themes from J. M. Barrie's book, and used these themes to create new musical material, forming a work in three contrasting sections. I. Journey to Neverland The opening of the work, mysterious in its style, reflects the opening chapters of the story - a leafy London street, still in the dead of night - with the music transforming quickly as it builds in texture and momentum - a Journey to Neverland through the night sky; Second Star to the Right and straight on 'til morning. "Then Peter knew that there was not a moment to lose. 'Come,' he cried imperiously, and soared out at once into the night, followed by John and Michael and Wendy. Mr & Mrs Darling and Nana rushed into the nursery too late. The birds were flown." II. The Windows that Closed The central section of the work takes its inspiration from the sense of longing throughout the book, mainly by Peter Pan, the Darling Children & The Lost Boys. Distant memories of life before Neverland, memories of the Lost Boys' mothers, and regret at what the children have missed. Peter says "Long ago, I thought like you that my mother would always keep the window open for me; so I stayed away for moons and moons and moons, and then flew back; but the window was barred, for mother had forgotten all about me, and there was another little boy sleeping in my bed." III. Aboard the Pirate Ship The final section of the work takes its inspiration from the Pirate Ship, and Peter Pan's ultimate battle with its infamous Captain Hook. "In person, he was cadaverous and blackavized, and his hair was dressed in long curls, which at a distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly."
Estimated dispatch 10-14 working days
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£34.95Song of the Night Sky - Christopher Bond
Orpheus is known as the most talented music player of the ancient times. It is said that god Apollo was his father, from whom took his extreme talent in music, and the Muse Calliope was his mother. Tragedy struck when his wife, Eurydice stepped on a viper which in turn bit her, injecting its fatal venom. Nothing could stop his cries of anguish and sheer pain and sorrow upon realizing his beautiful Eurydice was dead. Orpheus decided to go into the Underworld to get his wife back. Apollo, his father, would talk to Hades, the god of the Underworld to accept him and hear his plea. And so Orpheus set off into the Underworld and was warned that for no reason must he look back while his wife was still in the dark, for that would undo everything he hoped for. As Orpheus was reaching the exit of the Underworld, he could hear the footfalls of his wife approaching him. As his was approaching the exit, his heart was beating faster and faster. The moment he stepped on the world of the living, he turned his head to hug his wife. Unfortunately, he got only a glimpse of Eurydice before she was once again drawn back into the underworld. When Orpheus turned his head, Eurydice was still in the dark, she hadn't seen the sun and, was drowned back to the dark world of the dead. Waves of anguish and despair swept over him and shuddering with grief he approached the Underworld again but this time, he was denied entry, the gates were standing shut and god Hermes, sent by Zeus, wouldn't let him in. His songs were no more joyful but extremely sad. His only comfort was to lay on a huge rock and feel the caress of the breeze, his only vision were the open skies. Song of the Night Sky was recorded by Tom Hutchinson and the Cory Band in June 2015, featuring on his debut solo album.
Estimated dispatch 10-14 working days