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£27.50
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£74.95Aspects of Adiemus - Karl Jenkins CBE
Aspects of Adiemus is a collection from one of the world's most popular composers, Karl Jenkins. Adiemus, literally translated, means 'we will draw near' and represents a musical language which can be heard on five award winning albums from the composer.Since Adiemus has risen in popularity around the world, it has become a growing entity meaning many different things to many different people. Vocally, the spread of influence grows wider all the time, taking in Arabic and African sounds as well as "Celtic" and ecclesiastical ones. The percussion too has expanded using Indian, Middle Eastern, Japanese, Chinese and even Australian instrumentation.The evolving nature of Adiemus has meant that it has been difficult to categorise. New age, classical crossover, world music, even pop. Karl sees this as a good sign: "To me, Adiemus transcends labels. The fact that it reaches people of different backgrounds, faiths and cultures gives it a universal appeal which is special. The compositions can be spiritual, religious, meditative - it's open to 'move' people in any away they choose to experience."Ironically, the Adiemus project 'got off the ground' initially due to a television commercial for an airline. Karl Jenkins explains, "I'd been toying with a new idea, completely separate to my work in advertising, but at this time, Jenkins Ratledge were commissioned to come up with the music for an airline commercial. We presented the client with a demonstration tape of one of my completed compositions and they loved it."That composition became known as Adiemus. The music for the airline commercial was aired and immediately drew interest from the public. Karl: "It's ironic that a piece of music not originally intended for a TV commercial should end up on a TV commercial, and that this music became the springboard for the success of the Adiemus project."Expertly arranged by Peter Graham, Aspects of Adiemus features the eponymous 'Adiemus', an uplifting and instantly recognisable opener. 'Chorale - Za Ma Ba' and 'Chorale - Vocalise' are songs of sanctuary, the latter featuring a chamber group from within the band. The vibrant 'Song of the Spirit' is a cornet feature, and the finale, 'Song of the Plains' combines intense rhythmic energy with tribal harmonies. Duration is variable depending on movement selection and optional cuts.
Estimated delivery 5-7 days
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£24.95The Liberty Bell - John Philip Sousa
The Liberty Bell is an iconic symbol of American Independence. The actual bell was commissioned from the London firm, now known as, Whitechapel Bell Foundry in 1752 and was cast with the inscription:"Proclaim LIBERTY throughout all the land unto all the inhabitants thereof"The bell was placed originally in the steeple of Independence Hall in Pennsylvania and historically cracked the first time it was rung.Interest in the bell heightened across America in 1847 when it was claimed the bell was rung on the 4th July 1776 upon hearing the Second Continental Congress's vote for Independence. Despite the fact that this is undocumented and it is highly unlikely that the bell was actually struck on this date as it was in storage, the story was widely accepted and the bell was exhibited for many years at various expositions and patriotic gatherings across the United States.John Philip Sousa originally composed the march as part of an operetta score called, "The Devils Deputy" which, due to a lack of financing, was never completed. Sousa's manager George Hinton however, encouraged him to publish some of the music from the operetta as concert items, including the title-less march. While Sousa and his manager were attending the 1893 Columbian Exposition in Chicago, they watched a patriotic spectacle called "America" where the Liberty Bell was presented to the audience. Sousa's manager suggested that this would be a suitable title for Sousa's new march, to which Sousa agreed.This classic American march has been superbly arranged here for brass band by Dr. Robert Childs.
Estimated delivery 5-7 days
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£49.95Blaze - Phil Lawrence
Cornet/trumpet sounds have been changing for some years; they are becoming heavier, more robust, slower vibratos. The dynamic level now pushed out by your average solo cornet is 30% more than it was some 35/40 years ago. This, is mainly due to the bore size of instruments and mouthpiece sizes (as in bigger), and, demands of modern day works for band on the player/soloist, and of course a greater demand of styles on the player, and progressive teaching methods. The technical styles in Blaze are about these changes.In Blaze I have clearly blended symphonic blowing styles of the trumpet plus the virtuosic attributes of today's modern cornet player. Many solo cornets parts (more past than present) in band are often clearly defined between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this defined range; I have incorporated this range into the concerto. The low register is much explored, and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# opt. The ideology of this blend of course makes sense as the original dedication is to Rod Franks, LSO, and of course blending with that is Rod's history at Black Dyke Mills Band.The concerto is ten minutes long and in one movement comprising of four sections and one solo cadenza, with one section only appearing once, an episode. This singular section was a revised addition and dedicated to Richard Marshall who gave the first premier in New Zealand in June 2003. For the purists the form is thus, A, B, A (vari), C (episode). D (slow movement), E (3/8 episode 1), D (vari), E, (episode 2). A (last move), B, A (developed) = (coda finale).The compositional style? Well, I hope quintessentially, 21st C English with an element of nostalgia (modal/old English). There are some hints at jazz playing styles and rhumba, but romantic English I would say, and especially the slow movement.Blaze is also very bold; the title itself reflects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment; just as a matador stands alone in the ring for the first few seconds, and looks at the mass crowd in defiance, he thinks, "you are here to see me die", so the soloist stares the audience back in the face, and opens with the richest, largest sound (not loudest) one can muster, thus throwing the gauntlet down to the ears of all who might disbelieve what they are about to encounter, a gladiatorial cornet, a Blaze from the stage.For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of over-all control, a test beyond the reasonable. And for the audience? Of course, a BLAZE never to be forgotten. Phil LawrenceThis work can be heard performed by cornet soloist Richard Marshall & the Grimethorpe Colliery Band on their award winning album entitled 'BLAZE'
Estimated delivery 5-7 days
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£24.95Summer Storm - Antonio Vivaldi
Antonio Vivaldi was born in Venice and began his adult life in the church, becoming known as the 'Red Priest', presumably due to his sandy-coloured hair. Health problems prevented him continuing actively in the priesthood and he turned his attention to music.He wrote 18 operas, many sacred choral works and over 300 concerti, many for use at the Ospidale della Piet? orphanage where he was director of music. Of these, the 12 violin concerti known as The Four Seasons (from the opus 8 set, The Trial of Harmony and Invention), have become the best known. The third concerto, Summer, includes a graphic description of a thunderstorm which makes an effective showpiece when played by any solo instrument. Sadly, Vivaldi died in poverty in Vienna, whilst trying vainly to secure commissions for himself, but his music has survived to become some of the best loved in the world.
Estimated delivery 5-7 days
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£102.00
Rhapsody in Black - Andi Cook
Rhapsody in Black - Andi Cook - 10'40'' - BVT126 The primary inspiration for this work comes from the composer’s first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of ‘Rhapsody in Black’. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....‘Rhapsody in Black’ is dedicated to the composer’s friend and mentor John Roberts, who shares his love of both brass and rock.
Estimated delivery 10-14 days
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£79.99
Freaks! (Brass Band (Score & Parts)/Score & Parts) - Gavin Higgins
was written for Lisa Sarasini in 2006 and first performed by her with Zone One Brass at the Royal College of Music, London. This tuneful and flamboyant showpiece was inspired by the Tod Browning film of the same name. The 1932 black and white cult classic was banned for many years due to its controversial morality issues and lead characters ??" real life side show 'freaks'. It is one of the most bizarre things to have ever come out of Hollywood. Gavin Higgins' virtuoso trombone solo is programmatic in style, full of humour with a sinister undercurrent, and is broken into seven short scenes:
In stock: Estimated delivery 1-2 days
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£34.99
Sing Sing Sing (Score & Parts) (Brass Band/Score & Parts) - Louis Prima
, written in 1936 by Louis Prima, has become one of the definitive songs of the big band and Swing Era. Although written by Prima, it is often most associated with Benny Goodman. Easily accessible to concert audiences due to its big beat and showy drum breaks structure, this arrangement by Mark Freeh is a welcome inclusion in any concert programme.
In stock: Estimated delivery 1-2 days
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Charge of the Light Brigade - Andrew Stevenson
Charge of the Light Brigade tells the story of a battle in the Crimean War, where six hundred members of the light cavalry were sent to attack an Artillery Battery. However, due to miscommunications they were sent to the wrong Artillery Battery, past the original target. The 600 hundred soldiers then found themselves being attacked on two sides because of the error. 156 men lost their lives and another 122 were wounded.The piece follows the structure of the poem by Alfred, Lord Tennyson. The fanfare that starts the piece is the exact same used at the battle. The presto is the advance of the Light Brigade towards the Russian guns. The slow passage is a hymn for the men that lost their lives and the finale symbolises the triumphant return of the men that survived, and how the memories of the horrific battle that took place linger on in their minds. Throughout the piece, I have used antiphonal sounds to reinforce the ideas that I have taken from the poem.A recording of the Charge of the Light Brigade is available on the Foden's CD, Patrons' Choice VII (DOY CD329)
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