Results
-
£74.00Old Market Square - Joris Bolhaar
In the second part of the two-piece work Metropolis of the East is the Old Market, the centre point of the city of Enschede in the Netherlands. Elements such as the Great Church, the monument to the city fire of 1862, and historical events such as the textile strike can be heard in this piece, as well as the sounds of the many al-fresco cafes, the theatre Concordia, and the many festivals. This piece is coupled with The Cotton Phoenix (Alex Poelman) but functions well as a stand-alone work.
Estimated dispatch 10-14 working days
-
£84.00The Cotton Phoenix - Alex Poelman
The Cotton Phoenix is the first part of the two-part work "Metropolis of the East" and describes the influence of the textile industry on the development of Enschede. The composition begins introducing the Enschede-theme. After a big fire, the city rises from the ashes and the textile industry reaches a peak. The second part describes the liberation after the war, where Enschede, thanks to the industry, is able to recover. The piece ends with the Enschede-theme; the city in its present form.
Estimated dispatch 10-14 working days
-
£64.00The Basic Elements - Dick van Heuvel
In this rather simple but extremely well sounding suite in four parts, the Dutch composer Dick van Heuvel has made a musical evocation of the four basic elements of nature, namely earth, air, water and fire. The composition is written for five parts plus percussion, so here we have another fine composition for flexible instrumentation that can be played already by small bands.
Estimated dispatch 10-14 working days
-
£30.00Finale from Tosca, Act 1 (Te Deum)
DescriptionPuccini's opera Tosca, one of his most successful and popular works is set in 1800 in Rome, as Napoleon's invading army is approaching. There are rebels in Rome who see Napoleon as a liberator from Neapolitan rule and are plotting secretly. One of those is the young firebrand artist Cavaradossi. He and his lover, the beautiful and tempestuous Tosca, are being pursued by the evil chief of the secret police, Scarpia. At the end of Act 1, Scarpia is revelling in his plot to capture Cavaradossi and trick Tosca into sleeping with him to buy her lover's freedom, all inside a church in Rome while a Te Deum service is being sung; in the background the bells are tolling and we hear distant cannonfire from the approaching army.In this arrangement the part of Scarpia is played mostly by the solo trombone. There is an optional organ part, although all of the organ part is covered in the band parts.This arrangement was first performed by the Harrogate Band conducted by Andrew Baker in 2022. Watch a video preview of the score below!
Estimated dispatch 7-14 working days
-
£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
-
£35.00
Red Flame - Peter Meechan
Red Flame was inspired by a night spent in Groningen, Netherlands, whilst Katrina and the composer were attending the 2005 European Brass Band Championships.Queens night was in full flow outside, but whilst we were inside, there was a kind of surreal calm. However, that all changed as soon as we headed into the centre of Groningen, where the streets were full of happy people, all singing and dancing (And drinking!).The title refers to one particular drink in a bar that came to us on fire!The work was commissioned by, and dedicated to, Katrina Marzella.
Estimated dispatch 12-14 working days
-
£34.95Hellfire - Ben Hollings
Hellfire was written for the Carlton Main Frickley Colliery Band's programme of music at the 40th Brass in Concert Championships at the Sage, Gateshead; a programme which told the story of the Great Fire of London 350 years ago. Hellfire...
Estimated dispatch 5-7 working days
-
£34.95The Rising - Andrew Ford
To human beings, bushfires are terrifying and often deadly events. But to the Australian bush, they bring the prospect of regeneration. After the conflagration, comes peace. It is often only a few days after the fire that the first shoots...
Estimated dispatch 5-7 working days
-
£59.95
MY STRENGTH, MY TOWER Rhapsodic Variations (Brass Band Set) - Dean Goffin
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
-
£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
View Music