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£35.00Oubliette - Lucy Pankhurst
Lucy Pankhurst has created a highly immersive solo for Tuba/Eb Bass with brass band accompaniment, aiming and succeeding in showing the lyrical and technical diversity of the tuba, demanding virtuoso brilliance and clarity in performance.Dedicated to tuba player Edd Leech, Oubliette raises the bar for tuba repertoire.Set includes score, brass band parts and solo parts for Eb Bass (TC) and Tuba (BC). Solo with piano accompaniment available separately.Programme notes from the composer, Lucy Pankhurst:From the French word oublier, meaning 'to forget', an oubliette was a form of dungeon used in the 14th century. A small, windowless room where someone is locked away to be forgotten and left to go mad.I initially chose this title for the piece as the Tuba is often forgotten as a solo instrument, when its versatility in performance should be celebrated. Oubliette showsThe work begins with desolate and sparse accompaniment with lamenting solo lines. The soloist has already been cast into the oubliette at this point and is beginning to wake from a somnolent state. Reality is blurred through the darkness of the chamber - the only entrance is a hatch in the ceiling, far out of reach.Memories are confused by countless hours of solitude - hallucinations and paranoia tainting reality. Gradually, the soloist remembers images from the past and gains confidence and strength. Long forgotten by the captors, or presumed dead in the chamber, the entrance hatch suddenly opens to allow another prisoner inside. The soloist seizes the opportunity for escape and a short battle ensues. Sword and fist fighting, perilous leaps over the entrances to more dungeons and fierce battle cries are futile, as the soloist suddenly realises they are alone in the oubliette once more and the skirmish was nothing but another dream.The piece concludes with unaccompanied soloist in the low register, sinking deeper into the shadows of the windowless prison; are they accepting their fate, or merely lying in wait for another chance of escape, if one will ever come . . .
In Stock: Estimated dispatch 3-5 working days
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£30.00Roots - Lucy Pankhurst
Commissioned by Katrina Marzella in 2008, this modern 'duet' for Baritone and Euphonium soloists with brass band accompaniment has been inspired by 'nature and environment' as its primary muse. The music takes the listener through 7 stages of environmental atmosphere, in its combination of sounds and effects. It is a very uplifting work and with the back-story in mind (see programme notes below), it makes for an incredibly effective concert feature.Programme notes from the composer, Lucy Pankhurst:There are 7 main sections in the piece :RainGerminationGrowthTransionSunshineRainstormRestThe work begins with Rain, symbolised by the rainstick and 'rain sounds' in the brass , which allows the themes to germinate. The 'roots' of the music themselves, are firmly established in the tonic (root Eb) and 5ths in the low brass, from which the solo lines eventually grow, using triads and 5ths.During Growth, the solo baritone and euphonium begin with separate melodies which begin to twist around each other (much like tree roots), interlocking to produce harmonies and counterpoint, complimenting one another and firmly keeping the music in Eb major. Muted cornets and trombones continue to play overlapping semiquavers, reflecting the raindrops as they fall from the trees and leaves.A brief interlude, featuring brass sextet drives the music back to its Germination stage - here, named Transion, as it grows once more, evolving into something new. The Sunshine section is a dance. Moving rapidly through different keys, the warm sunlight catches on the dewy foliage, creating dazzling moments of clarity and beauty.However, the change in conditions also lead to brief moments of uncertainty, as the various creatures tentatively reappear from their shelter to bask as the earth is warmed. Birdsong can be heard in the solo lines as the entire band join in the celebrations.The jollity does not last long, however, as a Rainstorm, more violent than the last , ensues - stopping the dance in its tracks. The tam-tam and bass drum signify thunder, crashing into the music abruptly. However, the music still survives and re-emerges from the storm, delicately but securely establishing itself into a new key (C major), before softly concluding with the two soloists in rhythmic unison as the rain subsides and the world is at Rest.
In Stock: Estimated dispatch 3-5 working days
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£42.00A French Suite (Score only) - Boely
Boely (1785-1858) was a French organist who preferred the traditions of Bach to the varying influences of the French Revolution. The five movements that make up this refreshing suite demand clarity of line, a fine balance in ensemble, and purity of tone and intonation - the classical style. Duration: 10:00
Estimated dispatch 7-9 working days
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£52.00A French Suite (Parts only) - Boely
Boely (1785-1858) was a French organist who preferred the traditions of Bach to the varying influences of the French Revolution. The five movements that make up this refreshing suite demand clarity of line, a fine balance in ensemble, and purity of tone and intonation - the classical style. Duration: 10:00
Estimated dispatch 7-9 working days
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£77.00General Series Brass Band Journal, Numbers 2265 - 2268, April 2026
2265: Holy God, we praise your name (Micael Dikantsa)This bolero introduces composer Micael Dikantsa of the Amriswil Corps, Switzerland, and is based on the hymn Holy God, We Praise Your Name (Grosser Gott, wir loben dich). Set in the traditional slow, dramatic bolero style, the work builds steadily from a distinctive percussion figure as the melody passes through different instrumental groups. With its growing intensity and rich scoring, this piece offers an engaging and atmospheric addition to concert programmes.2266: Tell the story (Barrie Gott)This work continues the Swing series that began nearly 40 years ago with Light'Walk. After a bold introduction, the melody unfolds through unison and close'harmony writing, leading to a Flugel Horn solo with scope for improvisation. The well'known hymn I Love to Tell the Story is heard in a New Orleans style before a modulation launches an energetic shout chorus and lively coda. Smooth, relaxed swing style is key throughout.2267: The old rugged cross (Erik Leidzn)This arrangement by Erik Leidzn is an early and lesser'known setting of a well'loved hymn, rediscovered during research into his work. Edited from a rare score found in the USA East Music Department archives, it demonstrates Leidzn's economical and effective style, creating a practical and expressive arrangement at a time when concise, serviceable hymn settings were greatly needed.2268: Heaven came down! (Michael Cooper)Inspired by William Booth's famous challenge to use contemporary styles for sacred purpose, this piece blends high'energy jazz'fusion big'band writing with a joyful gospel hymn. Driven by rhythm, syncopation and precision, the music proclaims its message of transformation and spiritual joy with vitality, clarity and infectious swing.
Estimated dispatch 7-14 working days
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£69.95Horn Concerto (Horn Solo with Brass Band)
Horn in F/E flat with Brass BandComposed in 1971 for Ifor James, the Concerto for French Horn and Band revealed some of those elements that have made Gregson's music so popular with audiences (and not just brass band audiences) worldwide: the boldness of his melodies, with the interval of the fourth revealing his admiration for the music of Paul Hindemith; his incisive rhythms, betraying the influence of another favourite composer, Bla Bartk; an admirable economy of means; and the clarity of his scoring.Each of the Concerto's three movements displays a different facet of the French Horn's character. The first is serious, symphonic in impulse, the rising fourths of the opening gesture giving the music an almost Germanic weight. In the slow movement, the soloist becomes the first among equals, sharing with the cornet soloist some typically haunting melodies. The lyrical flow is interrupted at the mid-point by mysterious, fleet-of-foot cadenzas. A rondo finale brings the concerto to a lighthearted conclusion. The rising fourths here are the impulse for a jaunty theme which reveals another of Gregson's early influences - William Walton, and in particular that composer's Partita for orchestra.
Estimated dispatch 7-14 working days
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£69.95Concerto for Horn (Horn Solo with Brass Band - Score and Parts) - Gregson, Edward
Horn in F with Brass BandComposed in 1971 for Ifor James, the Concerto for French Horn and Band revealed some of those elements that have made Gregson's music so popular with audiences (and not just brass band audiences) worldwide: the boldness of his melodies, with the interval of the fourth revealing his admiration for the music of Paul Hindemith; his incisive rhythms, betraying the influence of another favourite composer, Bla Bartk; an admirable economy of means; and the clarity of his scoring.Each of the Concerto's three movements displays a different facet of the French Horn's character. The first is serious, symphonic in impulse, the rising fourths of the opening gesture giving the music an almost Germanic weight. In the slow movement, the soloist becomes the first among equals, sharing with the cornet soloist some typically haunting melodies. The lyrical flow is interrupted at the mid-point by mysterious, fleet-of-foot cadenzas. A rondo finale brings the concerto to a light-hearted conclusion. The rising fourths here are the impulse for a jaunty theme which reveals another of Gregson's early influences - William Walton, and in particular that composer's Partita for orchestra.Duration: 18.00
Estimated dispatch 7-14 working days
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