Results
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£42.00A French Suite (Score only) - Boely
Boely (1785-1858) was a French organist who preferred the traditions of Bach to the varying influences of the French Revolution. The five movements that make up this refreshing suite demand clarity of line, a fine balance in ensemble, and purity of tone and intonation - the classical style. Duration: 10:00
Estimated dispatch 7-9 working days
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£52.00A French Suite (Parts only) - Boely
Boely (1785-1858) was a French organist who preferred the traditions of Bach to the varying influences of the French Revolution. The five movements that make up this refreshing suite demand clarity of line, a fine balance in ensemble, and purity of tone and intonation - the classical style. Duration: 10:00
Estimated dispatch 7-9 working days
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£42.00Hymn at Sunrise (Score only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£52.00Hymn at Sunrise (Parts only) - Ray Steadman-Allen
The idea for this work was prompted by a poem - Hymn Before Sunrise - which describes the majesty of a mountain in darkness, the sounds of a nearby waterfall and so on. Nothing came of the exposure to these pictures except for general thoughts about the dawn of day and a series of movements expressing a personal response to the wonder of creation in an imaginary moment in time. The movement titles, which were added later, are intended to underline a prevailing sense of worship, wonder and exaltation. The music is pure, not pictoral, though listeners may conjure their own images. An actual hymn - Tallis' Cannon - is incorporated. There are five movements: 1. Thanksgiving: A short prelude in two parts. First a brief passage of 'dawn music' before things become more vigorous: fanfare-like music ushers in the trombone section's presentation of the Tallis tune. A broad band version concludes the movement. 2. De Profundis: A slow movement shot through with anxious questionings featuring flugel and trombone. The mood lightens a little in the centre where the soprano cornet is featured and the movement ends serenely. 3. Celebration is characterised by rhythmic drive, this is buoyant with plenty of incident pointed up by the percussion. 4. Invocation: Melodic in nature and sober in mood, the first section is a series of short solos mingled with chorale-like statements. Central to the movement is a chorale-prelude style presentation of the Tallis tune. The third section reintroduces the earlier solo music by the full ensemble. Dissolving, the music enters the last movement without a break. 5. Paean: Marked allegro con spirito there is, quite rightly, a fair amount of fun in the rejoicing. Snatches of Tallis are heard, then comes a gentle passage with a cornet solo leading to fanfare music and recapitulation. Two recitatives are succeeded by a coda which brings the work to a sonorous and exultant conclusion.
Estimated dispatch 7-9 working days
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£62.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£74.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£38.50
Far and Away - Williams, J - Harper, P
A scrappy, dirt-poor Irish tenant farmer hooks up, in unlikely fashion, with the equally feisty daughter of a wealthy landowner, and together they sail for America to seek their ultimate destiny in the 1893 Oklahoma land rush. An ideal vehicle for Tom Cruise and Nicole Kidman, who are both beautiful and engaging - problem is a dire lack of story to fill the lulls between fight scenes. Five times Academy Award winner John Williams' music score saves the day as he dips his brush into the very colourful waters of Celtic themes . . . the results are exquisite. Philip Harper's stunning arrangement won the best new arrangement/composition at the 1995 Spennymoor competition.2nd section +
In Stock: Estimated dispatch 1-3 working days
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£40.00
And Death Shall Have No Dominion - Harper, P
Based on Dylan Thomas's famous poem, the music is also linked to John Lennon's assassination, beginning with five gunshots and alternating between turbulent and reflective music. Recorded by Glyn Williams with Cory.2nd section +Duration 5 minsListen to Glyn Williams with Cory Band on BIC 2017Courtesy of World of Brass
In Stock: Estimated dispatch 1-3 working days
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£29.86Dance from the Othello Suite (Brass Band) Coleridge-Taylor arr. Bushnell
Samuel Coleridge-Taylor is a British composer, who, from a young age, showed talent on the violin and entered the Royal College of Music, studying with Charles Villers Standford. His music become so popular that his Hiawatha trilogy was the second most performed choral piece (joint with Mendelssohn's Elijah, and only beaten by Handel's Messiah) with choral societies up and down the British Isles. In fact, Hiawatha was arranged by Charles Godfrey as a test-piece for the 1902 National Brass Band Championship of Great Britain, held at Crystal Palace.Commissioned by the theatre impresario Herbert Beerbohm, Coleridge-Taylor composed incidental music for His Majesty's Theatre London production of the Shakespeare play, Othello, in the West End, in 1909. In 1912, the play opened to the public, with a suite of five movements put together soon afterwards. The Dance, arranged here by Rob Bushnell, makes a great concert opener.This arrangement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. A recording of the original composition can be found at www.youtube.com/watch?v=OQeO_Ij9CV8 Duration: approx. 2.30 minutes Difficulty Level: 3rd Section + PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion - Triangle, Cymbal & Bass Drum
In Stock: Estimated dispatch 1-3 working days
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£33.59Prelude in C-sharp Minor (Brass Band) Rachmaninoff arr. Rob Bushnell
One of Sergei Rachmaninoff's most famous compositions, Prelude in C-sharp minor (Op. 3, No. 2) is part of a set of five pieces entitled Morceaux de fantaisie. It was written when Rachmaninoff was only 19 years old and was first performance by the composer on 26 September 1892 at a festival called the Moscow Electrical Exhibition. This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been transposed from the original (for piano) of C-sharp minor to A minor, which better suits a brass band. There is another arrangement of this piece by Sandy Smith (published by Obrasso) which is designed for more advanced ensembles. A recording of the original composition can be found here: www.youtube.com/watch?v=mXGSfJn3nKQ Duration: Approx. 3.40 minutes Difficulty Level: 3rd Section + PDF download includes parts and score. Also includes alternative parts for horns in F and lower brass in bass clef. Sheet music available from www.brassband.co.uk Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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