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£75.00As Above, So Below - Jay Capperauld
An original composition for brass band and brass quintet by Jay Capperauld was commissioned by John Wallace and The Wallace Collection with the support of the PRS Foundation's Beyond Borders. This major work enjoyed its world premiere at The Cumnock Tryst on 30 September 2017 at Cumnock Old Church, performed by The Wallace Collection and Dalmellington Band, conducted by Martyn Brabbins.If you would like to perform this work, please don't hesitate considering The Wallace Collection to provide the brass quintet elements - if you would like to discuss potential performances, please contact us on [email protected] NotesBased on the Hermetic maxim "As Above, So Below", the phrase comes from the cryptic text of The Emerald Tablet, which was purportedly written by a mysterious character who is thought of as an amalgamation of Greek and Egyptian Gods, Hermes Trismegistus. The text first appears in Arabic between the 6th and 8th Centuries and is intended to outline the primitive and hidden sources that constitute the basis of all matter in the universe. The phrase "As Above, So Below" implies an essential "oneness" of all matter and a correlation between the physical elements and supernatural entities that make up our surroundings. The philosophies expressed within The Emerald Tablet have become a founding principle of Alchemy, Occultism, Witchcraft, Theosophy and various other ancient gnostic systems of belief, and this work attempts to explore these forms of so-called "secret knowledge" in a ritualistic trance-like Adagio steeped in the esoteric.The Brass Band is placed at the centre of the stage while the solo Brass Quintet are spread antiphonally around the concert hall and are placed above both the Brass Band and the audience in an attempt to create a direct dialogue between the Above and the Below. Therefore, the piece endeavours to explore the meaning behind the text of The Emerald Tablet as well as the phrase 'As Above, So Below' in a music context while giving particular attention to the 'SOLVE' (Latin for 'Separate' which correlates to the Above) and 'COAGLUA' (Latin for 'Join Together' which relates to the Below) that is depicted in the image of the Baphomet by the French occultist author, Eliphas Levi, which is a visual representation of the phrase 'As Above, So Below'.Additional Note of InterestIt was not until the work was complete that the role of the main melody became clear when an unexpected and inadvertent correlation between this melody and that of the Latin Dies Irae presented itself. The plainchant nature of As Above, So Below's melody became a defining feature of the piece and when compared to the melody of the Dies Irae (a similar melody reminiscent of that contained within As Above, So Below), some interesting and unsettling implications unveiled themselves.The findings of a comparison can be interpreted as follows:Both melodies adhere naturally to the plainchant idiom, which in itself strongly relates to a supernatural (or quasi-religious) element in both cases.Both melodies originate in the key of D; the Dies Irae resides in the Dorian Mode on D while the As Above, So Below melody inhabits the D Octatonic Scale.Both melodies can be divided into three distinct phrases, although the melody to As Above, So Below can be divided into three phrases in a number of ambiguous ways.The most striking and unnerving connection is that, by pure chance, the Latin text to the Dies Irae fits perfectly under both melodies giving an entirely specific context to how the melodies are perceived.By understanding the As Above, So Below melody as an alternative to that of the Dies Irae and by interpreting it in the same context, the connotations of the Dies Irae's otherworldliness, and the suggestion of a dialogue with the supernatural and death adds a richer dimension to the As Above, So Below melody which in turn solidifies the esoteric concept of this work.In conclusion, this unanticipated and purely accidental relationship between both melodies is worthy of note more so from an emotional and contextual perspective rather than from any analytical evaluation concerning the music itself - it is the circumstance of the so-called "secret knowledge" that has presented itself within the inner workings of As Above, So Below.
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£25.00Autumn Bacchanale (from The Seasons) - Alexander Glazunov
A lively, joyous item, ideal as a light interlude in any concert and especially appropriate for late season/Christmas themed events with its jaunty, positive sounds. Sue Hopkins has shown great creativity in crafting this arrangement of Glazunov's 'Autumn' movement, a bacchanale from his ballet The Seasons, hence its fondly referenced title of Autumn Bacchanale.Alexander Glazunov (1865 - 1936) was a Russian composer, music teacher and conductor. He was a child prodigy and was taught privately byRimsky-Korsakov, who said Glazunov's musical progress did not increase day by day but hour by hour. He began composing at age eleven and wrote his first symphony at age 16 in 1881 and it was premiered one year later.His ballet The Seasonswas first performed by the Imperial Ballet in St Petersburg on 20 February 1900 and was choreographed by Marius Petipa.It was written in one act and four scenes, and this piece represents the moment when all The Seasons take part in a glorious dance while leaves from autumn trees rain upon their merriment.
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£30.00Clair de Lune - Claude Debussy
Andrew Duncan has arranged this Debussy classic to create a delicate and lyrical item, offering the perfect peaceful interlude for a concert programme or own choice entertainment selection. Andrew's creative scoring brings the familiar style of Debussy to life through his beautiful setting of this ever popular melody.Look and Listen (courtesy of Brass Band Fellows):
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£25.95Heed the Word - Lucy Pankhurst
Lucy Pankhurst created this impressive work in support of a charitable project, known in 2005 as Brass Band Aid. The organisation called for original compositions to be included in a follow-up CD release - Into Africa to help raise funds for projects in Adet, Africa, and to build awareness of the Make Poverty History campaign.Lucy's creativity and imagination are very prevalent in this work - a complete mix of powerful energy and poignant emotions flow from the score. A strong use of pulsating drums are balanced with sheer tranquility and rich chords. It exudes hope and positivity and perhaps, through its title, offers a gentle warning to listen carefully to the concerns that are aired around us - not least in recognition of the challenges facing the very communities the CD was aiming to help.The work was recorded by the Prairie Brass Band, US and featured on the Brass Band Aid CD - Into Africa.
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£30.00Here and There - Martyn Brabbins
An original composition for brass band by Martyn Brabbins.This work was created by Brabbins early in his career and combines his creativity and passion for the sounds of brass bands . It is one of two compositions from that era (the other being There and Back) which have now been given a new lease of life and made available to the general public through The Music Company (UK) Ltd.With great chords, sounds and unexpected bursts of energy, the work lasts just 1 48, making it ideal to be positioned as an attention grabbing opener or a contrasting interlude to greatly enhance the interest of a concert.The brass band version was originally premiered by The Dalmellington Band at The Cumnock Tryst 2017, and the Symphonic Wind Orchestra adaptation was performed by The BBC Scottish Symphony Orchestra in 2019.Available here for brass band. Also available for Symphonic Wind Orchestra.**Brass Band version for purchase/Symphonic Wind Orchestra version for hire only.Listen InFind out more about Martyn Brabbins, listen in to the fascinating podcast presented as part of the British Bandsman's On The Record series:Apple podcasts:apple.co/3ufSsfXSpotify:spoti.fi/3duqoj5Podbean:bit.ly/3k3B75h
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£30.00Janacek's 'Taras Bulba' - Janacek
Comments from Tim Paton, the arranger of Janacek's 'Taras Bulba': "I will never forget the day in 1967 when I was introduced to the music of Leos Janacek, a Czech composer born in 1854, who died in 1928. Janacek was little known in Britain until the 1960's, when the conductor Charles Macherras introduced his unique music. I heard a recording of Macherras conducting the Pro Arte Orchestra in a performance of Janacek's "Sinfonietta".It was in 1969 that I first heard Janacek's Symphonic Rhapsody, "Taras Bulba".Janacek's music is exciting, powerful, emotive, impassioned and unpredictable.I have taken the first and third movements of this piece, and adapted them for Brass Band, which was at times extremely difficult, but rewarding. It sometimes took up to an hour to be satisfied that a mere several bars had been reproduced to convey the composer's intentions.The Death of AndriThe Cossaks, under the leadership of Taras Bulba, are fighting against the Poles in the 17th century. Taras's son Andri seeks to rescue his love, a Polish princess, from a city which is being besieged by the Cossaks. Having found her, he throws in his lot with the Poles, but is finally captured by his father, who executes him as a traitor before riding off again to battle.Prophesy and Death of Taras BulbaTaras himself is finally captured and condemned to be nailed to a tree and burned alive. As the flames creep around him, Taras has the satisfaction of seeing histroops escape, and as he dies, sees a vision of his country freed at last.This is incredibly descriptive music. The mood is constantly changing, creating feelings of love and anger, celebration and melancholy, despair and triumph.This Brass Band EditionThe duration of the original symphonic rhapsody, three movements, is approximately 23 minutes. I chose the first and third movements, so the Brass Band edition is approximately 14 minutes. The main reason is twofold: Being realistic about the demands this music would place on the stamina of the brass player; Keeping the piece less than 15 minutes, so that, if desired, it could be used on the contest platform.Two unique qualities of Janacek's music had to be taken into account when preparing this brass band version. His compositional technique was individual, at times not sticking to traditional expectations, in both form and orchestration. I imagined what the genius himself would have said looking at my work, and how to tackle a particular section to emulate his original intentions. This was particularly the case when dealing with high woodwind and violin parts, the use of tremolo in string parts, and the orchestral harp.Percussion: Janacek included timpani, side drum, cymbals, triangle and tubular bells. For reasons stated previously, I have also included xylophone and glockenspiel. I have also added the gong in a couple of places to enhance the dramatic effect of the music.
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£25.00
Les Alignements - Tim Paton
There is a town on the Brittany coast called Carnac. Here you will find a line of prehistoric stones. Three kilometers in length, and at certain points, fifteen abreast, like a line of soldiers. They have been there for so long, that the sea has covered the last few hundred metres. This piece aims to capture the ethereal atmosphere, calmness, and timelessness created by this alignment in this beautiful countryside. This is 'ambient' music, creating several minutes of meditative sound.
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£25.00
Meditation - John Stainer
Based on "God So Loved The World" from John Stainer's "Crucifixion".In the 19th century, the English composer John Stainer wrote an oratorio named "The Crucifixion". It contains a beautiful a capella setting of the Biblical text from John chapter 3 verses 16 & 17. Although I have added a few obligati and counter subjects, and a short fugal link, for the most part, I have not tried to add too much to a beautiful piece of traditional harmony. What I have done, is to try to emphasise the subtle changes of tone colour in the unique sound of the brass band. "Meditation" is on the latest CD from Weston Brass. Order from [email protected] price �6.95."..a beautiful concert item that reflects the title of the work perfectly." Robert Childs
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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 . . .
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£30.00There and Back - Martyn Brabbins
An original composition for brass band by Martyn Brabbins.This work was created by Brabbins early in his career and combines his creativity and passion for the sounds of brass bands . It is one of two compositions from that era (the other being Here and There) which have now been given a new lease of life and made available to the general public through The Music Company (UK) Ltd.A fast-paced and lyrical piece lasting just over 2 minutes. It's a piece which can work well across a concert programme - giving flourish as an opener and equally effective if placed between longer content.Available here for brass band and also available orchestral wind, brass & percussion.**Brass Band version for purchase/orchestral wind, brass and percussion version for hire only.Listen InFind out more about Martyn Brabbins, listen in to the fascinating podcast presented as part of the British Bandsman's On The Record series:Apple podcasts:apple.co/3ufSsfXSpotify:spoti.fi/3duqoj5Podbean:bit.ly/3k3B75h
In Stock: Estimated dispatch 3-5 working days