Results
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£99.95Malcolm Arnold Variations (Score and Parts)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£49.95Malcolm Arnold Variations (Score Only)
MALCOLM ARNOLD VARIATIONS was commissioned by Philip Biggs and Richard Franklin for the 20th All England Masters International Brass Band Championship held in the Corn Exchange, Cambridge on 25 May 2008. The work is dedicated to Anthony Day, long time carer of Sir Malcolm Arnold in his final years. I first met Malcolm and Anthony in 1990 and remained in constant touch until Malcolm's passing in 2006. Anthony, of course, remains a friend and plays his own role subliminally in this piece. The work is not based on any of Malcolm Arnold's own themes, rather it is a portrait of him (and by association Anthony Day) through my eyes and as a result of my friendship with both parties over some 18 years. If there is any theme as such it is the personalities of the players, the protagonist and his carer placed together by my own efforts coloured and influenced by aspects of Arnold's style and technique without recourse to direct quotation but through allusion and parody. It is of course designed as a brass band test piece but in my eyes is first and foremost a musical challenge. The pyrotechnical elements are there but always secondary to the musical thrust of the work's structure. I have long beforehand submerged myself in Malcolm Arnold's music and ultimately delivered this tribute. Music Directors will be advised to acquaint themselves with the composer's personal music, particularly the film scores, symphonies, concertos and ballets: the solutions towards a successful interpretation of my piece are all in there - and YES, I want, and sanction, this piece to be interpreted, and therein lies the challenge for those of you 'up front'! The challenge for players is that of virtuosity, ensemble and careful attention to where they are individually in relation to their colleagues - a question of balance, taste and insight. With regard to tempi, as is my usual custom, I have indicated all metronome marks with the prefix circa. I would suggest that the fast music is played at these tempos but that the more rubato moments can be allowed some freedom in expression and fluidity of line. With regard to the type of mutes to be employed - this decision I leave to the discretion of players and conductors. Structurally the work is cast as an Introduction, 20 Variations and a Finale. Some variations are self contained, others run into each other as sequences in the same tempo. In other variations, segments are repeated and developed. I could describe the overall concept as a miniature ballet or a condensed film score - there is much drama and character and the repeated elements assist this in driving the action forward. I have deliberately avoided the more extremely dark qualities of Malcolm's own music in this, my celebration of this master-composer, as I have always viewed (and evidenced by my previous Masters scores Tristan Encounters and Chivalry) that the Cambridge contest is a 'sunshine- affair' and firmly believe that Malcolm Arnold would have had it no other way too!
Estimated dispatch 7-14 working days
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£34.95Judd: A Happy Day
This composition was awarded first prize in the Theme and Variations Section of the 1926 Salvation Army Band Music Competition and has remained popular with cornet soloists and audiences ever since. This was the first in a trilogy of cornet solos with the word 'day' in the title written by Erik Leidzen, the others being 'Happy all the Day' and 'Wondrous Day'.
Estimated dispatch 7-14 working days
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£29.95Judd: Army of God
Herbert Rive contributed just two compositions to Salvation Army music, the other being the festival march The Kings Command. Spirit of Joy was awarded first prize in the 1953 70th Anniversary March Competition in New Zealand. Rive uses a short syncopated motif based on the first few notes of the Salvation Army tune If you keep singing to tie all aspects of this march together.
Estimated dispatch 7-14 working days
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£59.95Judd: Caelum Corona - Stephen Bulla
Stephen Bulla's 'Caelum Corona' ('Crown of Heaven') portrays, in sound, a Christian's walk in faith, intended metaphorically via a musical narrative reminiscent of the early church pilgrims, their struggles and triumphs. The composer initially evokes the atmosphere of Rome at the time of St. Paul and other martyrs, thus the Latin title. Bulla marks his imaginative tone poem with dark, brooding music in the first two of three parts, in each of which he has embedded an appropriate hymn or song reference as thematic material. The first of these sounds in a minor key following a symphonic exposition made up primarily of fanfare-like motives, the music at times quite harsh and abrasive. The song is Paul's statement of exuberant faith (2 Timothy 1:12) in the midst of prison and persecution: 'For I know whom I have believed, and am persuaded that he is able to keep that which I've committed unto him against that day.' More challenging, aggressive music returns until a further point of reflection on Christ's sacrifice is reached. The music graphically evokes the barren landscape of Golgatha, the horror of the crucifixion, including stark wind sounds, a loss of stability via eerie, dissonant chord clusters, and even the nails being driven into Christ's body. The Baritones and then Flugel Horn softly play 'He died of a broken heart.' Yet the Christian life, despite its perils - both at the time of Paul and now - is a victorious life, and the composer resolves the tensions of the work in a scintillating finale, a brilliant setting of the old song about spiritual warfare and the ultimate triumph of Christ the King: 'Victory for me!' (T.B. 841). The chorus of that tune proclaims: 'No retreating, hell defeating, shoulder to shoulder we stand; God look down, with glory crown our conq'ring band.' That crowning is the same one sought and claimed by St. Paul (2 Timothy 4:8): 'Now there is in store for me a crown of righteousness, which the Lord, the righteous judge, will award me on that day, but also to all who have longed for his appearing.' Believers look forward to participating in the final coronation of their Saviour - King of Kings and Lord of Lords - while humbly desiring their own 'crown of heaven.'
Estimated dispatch 7-14 working days
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£34.95Judd: Flourish
This solo was written for Philip Cobb and takes its inspiration from Virtuosity, a trumpet solo by Kenny Baker. The song Hand me down my silver trumpet is referred to in the two outer sections while the laid-back, jazzy central section features the song When the roll is called up yonder. The reason for including this song is the first line of the first verse which reads When the trumpet of the Lord shall sound.
Estimated dispatch 7-14 working days
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£24.95Judd: Someone Cares
In the mid-1960s, then captains John Larsson and John Gowans (both of whom were later to become Generals of The Salvation Army) combined to write the first in what became a string of Salvation Army musicals, entitled 'Take-over Bid'. This solo features perhaps the most memorable song from that first musical, now arranged as a beautiful slow melody
Estimated dispatch 7-14 working days
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£29.95Judd: Spirit of Joy
This march was awarded first prize in the 1930 American Golden Jubilee National Music Competition and was published the same year in the first edition of the American Festival Series. It was subsequently re-printed in the General Series of 1984. Soderstroms imaginative use of syncopation and chromatic harmony brought a new, American sound to the Salvation Army march. For example, he took the old Salvation Army fight song Hark, hark my soul written and changes its metre from 6/8 to 4/4 while also syncopating it!
Estimated dispatch 7-14 working days
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£44.95Judd: Trailblazers
This overture draws its inspiration from the story of the first Household Troops Band. It tells the story of the 1887 band, the subsequent lull of nearly a hundred years and the re-awakening of the Troops phenomenon in 1985. It was originally written in 1995 and featured prominently by the band on its North American tour of 2002. Given the history of the Household Troops Band, it is fitting that this composition is preoccupied with marching. It begins with a marching song played by a solitary muted cornet, symbolic not only of the call to bandsmen to join the evangelical effort but also a muso-dramatic device to indicate the steady increase in members and technical ability! The music quickly develops into stirring versions of 'A robe of white' and 'Storm the forts of darkness' with two early day Salvation Army tunes crucially adding to the narrative; 'Marching on in the light of God' and 'Soldiers of our God, arise!' The second section is a reflective setting of the Herbert Booth song, 'The penitent's plea'. This song serves to represent the many people who were 'saved' during those early day campaigns. The expressive music transports the listener through a period of uncertainty and angst until finally reaching the song, 'There is a message, a simple message, and it's a message for us all'. The final section deals first with the emergence from the annals of history with the muted cornet figure again before, symbolically, the present day band bursts forth with an emphatic statement of 'Would you be free from your burden of sin? There's power in the blood'. The stirring climax represents a fitting tribute to those gallant pioneering musicians and their equally impressive and dedicated contemporaries.
Estimated dispatch 7-14 working days
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£60.50A Gallimaufry Suite (Score and Parts)
I - Fanfare & ThemeII - SongIII - HymnIV - Toccata & FinaleA Gallimaufry Suite consists of four movements, all thematically independent. The first movement consists of a sparkling Fanfare followed by a stately Theme which ends quietly. The second movement is a Children's Song; quirky but cute, and the Hymn which follows is a study in calm and tranquillity, featuring a quartet-group of cornet, baritone, trombone and euphonium. The last movement is a virtuosic Toccata which eventually begins to recall the other themes of the suite before a grand reprise of the first movement Theme brings the work to a dazzling conclusion.
Estimated dispatch 7-14 working days