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£37.50Violin Concerto (Adagio) - Max Bruch - Steven Hague
Skilfully arranged by Steven Hague for Kirsty Abbots of Carlton Main Frickley Brass Band, this beautiful second movement will not only keep the cornet soloist on their toes, but the rest of the band too, with some tricky rhythms and articulation. Although much of the work of Max Bruch remains unknown to modern audiences, his G Minor Concerto enjoys widespread popularity.
In stock: Estimated dispatch 1-3 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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£84.95In League with Extraordinary Gentlemen (Euphonium Solo with Brass Band)
Concerto for EuphoniumIn League with Extraordinary Gentlemen combines two of composer Peter Graham's life interests - composition and 19th century popular fiction. Each of the concerto's three movements takes its musical inspiration from extraordinary characters who have transcended the original genre and have subsequently found mass audiences through film, television and comic book adaptations.The first movement follows a traditional sonata form outline with one slight modification. The order of themes in the recapitulation is reversed, mirroring a plot climax in the H.G. Wells novella The Time Machine (where the protagonist, known only as The Time Traveller, puts his machine into reverse bringing the story back full circle).The Adventure of the Final Problem is the title of a short story published in The Memoirs of Sherlock Holmes by Arthur Conan Doyle. This is an account of the great detective's final struggle with his long-time adversary Professor Moriarty at the Reichenbach Falls in Switzerland. The music takes the form of a slowed down lndler (a Swiss/Austrian folk dance) and various acoustic and electronic echo effects call to mind the alpine landscape. The final bars pose a question paralleling that of Conan Doyle in the story - have we really seen the last of Sherlock Holmes?The final movement, The Great Race, (available separately) follows Phileas Fogg on the last stage of his epic journey "Around the World in Eighty Days" (from the novel by Jules Verne). The moto perpetuo nature of the music gives full rein to the soloist's technical virtuosity. As the work draws to a conclusion, the frantic scramble by Fogg to meet his deadline at the Reform Club in Pall Mall, London, is echoed by the soloist's increasingly demanding ascending figuration, set against the background of Big Ben clock chimes.In League with Extraordinary Gentlemen was first performed in the brass band version by David Thornton and the Black Dyke Band, conductor Nicholas Childs, at the RNCM Concert Hall Manchester on January 30, 2009.
Estimated dispatch 7-14 working days
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£29.95Ballet for Band (Score Only)
Ballet for Band was written as the test-piece for the Championship section finals of the National Brass Band Championships, held at the Royal Albert Hall in October 1983.Although the work is not programmatic, within the space of ten minutes, the composer uses a form which might be considered to be the form of a ballet. Therefore there is a fanfare at the beginning which might be the overture, different characters appear, and scenes are quite clearly marked by, for instance, baritones or by muted trombone, although the listener is encouraged to use his own imagination.Thematically the work is tightly controlled, with the same material re-appearing in many different guises, as a flugel horn solo, as a waltz on the horns, and on the euphonium. Horovitz employs a rich harmonic pallet, but the work is most definitely rooted in a tonal language, with hints of Straussian richness later in the work.The work is notable for its middle section, in which the music gets slower and slower, providing a real test of control throughout the band.Ballet for Band was by no means Joseph Horovitz's first work for the medium: his fine "Concerto for Euphonium and Band" is frequently played, and he has also written a cantata entitled "Samson" for choir and band.
Estimated dispatch 7-14 working days
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£54.99Merry-Go-Round (Brass Band - Score and Parts)
Merry-Go-Round is a mini concerto for band in which each section takes a turn as soloist. On a merry-go-round the viewpoint is constantly changing, this being portrayed by different instrumental groups playing variations on the main theme, continually coming to the fore. This attractive work will bring all the excitement of the fairground to your concert.Duration: 3.30
Estimated dispatch 7-14 working days
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£94.00Montage (Brass Band - Score and Parts)
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries.The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated.A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles.The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon.The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target.
Estimated dispatch 7-14 working days
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£84.95Concerto No.10 for Brass Band
Estimated dispatch 7-14 working days
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£49.50Concerto for Band
Estimated dispatch 7-14 working days
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£34.95
Concerto for Hosepipe
Estimated dispatch 7-14 working days
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£11.50
Concerto for Hosepipe (Score Only)
Estimated dispatch 7-14 working days
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