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£70.00
Macbeth - Peter Meechan
Commissioned by the Scottish Brass Band Association for the 2007 Scottish Open Championship, Macbeth takes itsa inspiration from the Shakespeare play of the same name. Character portraits (Of the three witches as well as Macbeth himself), abstractions (The lament), and scenes (Macbethas final battle with Macduff) make up the nine sections of the piece.i: WitchesThe prophecies of the three witches are an integral part of the play, and in this opening section, these mysterious characters are represented by three different sections of music that introduces the listener to the musical material of the piece.ii: DaggerMacbethas aIs this a dagger I see before theea speech, where an imaginary dagger leads him to contemplate the pending murder, builds in intensity before the bell tolls at itsa conclusion - a sign from Lady Macbeth that Duncan is now alone.iii: General MacbethA character portrait of Macbeth - a fearless General who has led his armies to defeat foes from all over Europe. His ambition and flair that make him such a great General are also the characteristics that lead to his eventual downfall.iv: Contemplations of Lady MacbethAlone and mad, Lady Macbeth ponders all that has gone, before taking her own life.v: LamentAlthough the play tells of Macbeth not feeling the pain of his wifeas death, this lament ponders not only her death, but the tale as a whole.vi: Tomorrow and tomorrow and tomorrowIt is in this final soliloquy that we see the ultimate tragedy of Macbeth - the realisation that his life is ultimately worthless.vii: A spell still castThis acts as an prologue to section eight, restating the original awitchesa music, before heading into Macbethas final battle.viii: Final BattleMacbethas final battle, where he locks swords with Macduff.ix: Not of woman bornMacbethas realisation that the witches have misled him comes all too late, as Macduff beheads Macbeth, fulfilling the last prophecy.
Estimated dispatch 12-14 working days
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£70.00
Milestone - Peter Meechan
Milestone is a concerto commissioned by Mark Wilkinson (with funds provided by the Arts Council England) to celebrate 21 years as Principal Cornet with Fodens Band. In three movements, the work is intended to not only demonstrate the soloistas virtuosic skills, but also his ability to communicate to the audience.The first movement, titled Milestone, combines sections of driving rhythms (intended to represent Markas years of continuing hard work), in the accompaniment with long legato phrases from the soloist interspersed with dexterous, virtuosic, passages.The second movement, Song, features a simple chord sequence, over which the soloist asingsa a melody, each time varying and each time becoming more expressive, leading to an emotional climax.The final movement, Twenty One, is a quasi-celebratory dance. Opening with the band clapping, the soloist weaves their way through the various textures in the band. Occasionally making both a musical and metaphorical nod to the industrious nature of the first movement, the chord sequence of the second movement also re-appears, before a brief coda takes us to the conclusion of the work.
Estimated dispatch 12-14 working days
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£60.00
Requiem Paraphrases - Peter Meechan
Requiem Paraphrases uses the opening bars of Mozartas Requiem as its musical material for the whole piece. An aggressive opening is followed by a sounding of Mozartas original theme, in a setting for low brass and solo euphonium. Percussion and woodwind then enter, as the soloist begins to elaborate. A brief return to the opening is followed by a new, percussion driven, section.The euphonium and various soloists in the ensemble interact, exchanging ideas over an ostinato in the marimba. As this section continues towards the cadenza, the ensemble gradually takes on more of an accompanying role, leaving the soloist to again break free, with flourishes and gestures leading to the cadenza.Following this, there is a short recapitulation, before the euphonium brings us to a dramatic conclusion!Requiem Paraphrases was commissioned by, and dedicated to Steven Mead.
Estimated dispatch 12-14 working days
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£35.00
These Mist Covered Mountains - Peter Meechan
These Mist Covered Mountains was commissioned by Keith Johnson (KMJ Recordings) for soprano cornetist, Mandy Crowther, to whom the piece is dedicated.In an age where we seem to be inundated with endless news cycles of various wars that we as a nation are involved in, and also those that we are not, it seems that war is now a constant, and we are in a never ending state.This short piece is intended to represent the cyclic nature of war, and the way that war never seems to have a true conclusion.
Estimated dispatch 12-14 working days
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£24.95
THROUGH THE FAIR (Flugel Horn Solo with Brass Band Set) - Traditional - Chelsea Pascoe
Ethereal and refined in style, this arrangement begins with soloist alone while instrumentation is gradually added to build texture and intensity. The opening effects are mirrored in the conclusion to the piece.
Estimated dispatch 7-14 working days
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£29.95
GATHERING, The (Brass Band Set) - Marcus Venables
This concert opener was written for the Canadian Staff Band and its European tour, culminating in its attendance of the ISB120 event in London in June 2011. The tour included some time in Holland and, appropriately, the well-known Dutch hymn 'We gather together' was selected as the source material for this work. The melody is used in a couple of different settings before reaching a rousing conclusion.
Estimated dispatch 7-14 working days
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£44.95
VICTOR, The (Brass Band Set) - Kenneth Downie
Written for the Melbourne Staff Band, this march features the hymn tune, 'Millennium'. While the origins of the tune are unclear, it has a distinct character; from the opening rising fourth interval through to its conclusion, it embodies strength and vigour. The composer has hinted at the style brilliantly employed by the great Australian march writer, Arthur Gullidge, by opting for a minor key in the first section offset by a melodious trio section in a major key.
Estimated dispatch 7-14 working days
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£29.95
BEFORE THE CROSS (Cornet Solo with Brass Band Set) - Edward Gregson
Written at the request of David Daws for his solo album The Sound of David Daws, this meditation for cornet and brass band uses the composer's own song Before the cross (originally published in The Musical Salvationist, April 1965), the first lines of which are Before the cross I stand in fear and wonder, and see that all my sirs on Thee are laid. The song was written at an early stage of the composer's career, just before commencing study at The Royal Academy of Music, London. After a brief introduction the melody is heard twice, first played by the soloist, then on Euphonium and Flugel Horn with the soloist adding ornate counterpoint before taking up the melody once again, this time leading to a quiet and reflective conclusion.
Estimated dispatch 7-14 working days
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£59.95
VARIATIONS ON LAUDATE DOMINUM (Brass Band Set) - Edward Gregson
Revised Version. Based on the noble hymn tune of the same name by Sir Hubert H. Parry, there are seven variations, the seventh of which is a fugato. The theme is not presented in full until the end, when it is heard in its full majesty and the music brought to a tremendous and climactic conclusion.
Estimated dispatch 7-14 working days
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£89.95
INFINITY (Brass Band Set) - Robert Redhead
In the post-modern age in which we live, 'absolutes' are difficult for many to comprehend. Yet infinity, which means absolute, total, all-embracing, having no limits or boundaries in time, space, extent, or magnitude, has always been central to the Christian's concept of God.Through the ages, as human understanding has grown, particularly at a remarkable rate from the latter part of the twentienth century, Christianity has been continually challenged to interpret traditional beliefs in the light of new discoveries, but always within the reality of the infinite Being. In addition, scripture tells us that 'humanity was made in God's image'. Humankind is part of God's creation and as such, responsible for its upkeep. Such a commission has never been more relevant than in this present age. Psalm 8 creates a great picture of the majesty, eternal, infinte quality of God and yet reveals the desire of God to share in spirit with humankind. It recognises humankind as being, not a tool of the infinite, but as a creative contributing part of the ongoing movement and activity of the infinite. The music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality. It is not based on the Psalm but reflects some of the sentiments lying therein. The 'hymn-like' theme expresses the nature of the Divine using the Old Testament image of the infinite God coming to finite humankind, not in the 'wind', the 'earthquake', the 'fire', but in the 'still small voice' of quietness (1 Kings 19: 11-13). The ensuing musical development, in different styles and patterns, expresses this continual link between infinite and finite. Thus the conclusion, rather than being a symbol of might, power and magnificence, reflects the same sentiment as the opening.
Estimated dispatch 7-14 working days
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