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£29.95The Pearl Fishers Duet (Deep Inside the Sacred Temple) - Georges Bizet - Robert Childs
Bizet's opera, The Pearl Fishers, has the exotic setting of a quiet fishing village on the island of Ceylon in the time of antiquity. The plot revolves around best friends Zurga and Nadir, who swear an oath of friendship, vowing...
Estimated dispatch 5-7 working days
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£45.00
Cocoon - Horner, J - Barry, D
A major box-office success of 1985 directed by Ron Howard. Composed by James Horner Cocoon is a lyrical, tender, intimate work which addresses a vast spectrum of emotions, examining such topics as death and mortality, friendship, and familial relationships, as well as the joy of regained youth.
In Stock: Estimated dispatch 1-3 working days
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£14.95Instrumental Album No.12 - Instrumental Duets
Includes: Always cheerful; Friendship with Jesus; In shining armour; Glory to his name; Captain and Lieutenant; Two Friends; The Crimson Stream; Fellowship; Come, ever smiling liverty; The Londonderry Air; Sweet chimings bells; The gates of eternal day; He wipes the tear from every eyeInstrumentation: Bb & Eb Duets with Piano Accompaniment
Estimated dispatch 7-14 working days
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£29.95Aria for Philip (Brass Quintet - Score and Parts)
Instrumentation:2 Trumpets in CHorn in FTromboneTubaWritten in memory of Philip Jones, this short work was first performed at his memorial concert held at the Royal Northern College of Music in 2000. Scored for Brass Quintet, it was performed by former members of the Philip Jones Brass Ensemble.My friendship with Philip Jones stretched back to my student days, when my Quintet for Brass was performed during my final year at the Royal Academy of Music. Philip was present at that premiere in 1967, and soon after that his ensemble performed and broadcast the Quintet on a UK Tour, including a performance in the finals of the BBC Young Composer's Competition. I owe him a huge debt of gratitude for promoting a work by a then unknown young composer.I use a brief quote from the opening of my 1967 Brass Quintet in this work, which is generally rather sombre in character, except for the sudden change of mood and tempo in the short final section, when the clouds suddenly lift and the sun shines through.- Edward GregsonDuration: 5.00
Estimated dispatch 7-14 working days
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£34.95Of Wind and Weeping (Flugel Horn Solo)
Flugel Horn Solo with Brass BandThe relationship between Achilles and Patroclus is a key element of the myths associated with the Trojan war.. Its exact nature has been a subject of dispute in both the classical period and modern times. In the Iliad, the two heroes have a deep and meaningful friendship. Achilles is tender towards Patroclus, while he is callous and arrogant towards others.Of Wind & Weeping (2015) is a flugel solo, with the soloist representing Greek warrior Achilles and the pain he faces following the death of Patroclus. For a brief moment, Achilles' character shifts from a strong and unbreakable warrior to an emotional and vulnerable character. The solo should be played with expression and feeling, a character who is mourning a loved one with mixed feelings of sadness, shock and vengeance.The work was written in early 2015 for flugel soloist David James and Tongwynlais Temperance Band, with whom he is a member.
Estimated dispatch 7-14 working days
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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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£66.88Pyrenean Carol Suite (Brass Band) David Taylor
This attractive suite for brass band by David Taylor features five traditional carols from the Pyrenees region of Spain, as follows:i. Nadal Tindaire (Jingling Christmas) - Occitan traditionalThis Occitan Christmas song tells of musical instruments used to celebrate the Nativity - 'fifes and trumpets, timpani and pipes, or you, clear little bells, along with the angels' choir.'ii. Gabriel's Message (Birjina Gaztetto Bat Zegoen) - Basque traditionalThe most widely-known of the chosen carols, honouring Jesus's mother Mary, this is often sung in its English version, but the melody came from the Basque country. The Basque words were adapted from the Mediaeval song Angelus ad Virginem. Here, we feature the flugel horn. This movement was originally written on its own, with organ accompaniment, for the composer's wife, Diane Scott.iii. El Noi de la Mare (The Child of the Mother) - Catalan traditionalA beautiful Catalan carol celebrating the birth of Jesus, telling of the tasty gifts that the singer would bring - 'Raisins and figs and nuts and olives; Raisins and figs and honey and mato [a Catalan dessert cheese traditionally served with honey.]' Here we feature the euphonium. The tune was made famous by guitarist Andres Segovia, who used it as a favourite encore, and by John Rutter, who made a widely-used setting for choir.iv. Paure Satan (Poor Satan) - Occitan traditionalThis rather unusual carol tells of the pain that Satan is put to by the arrival of the infant Jesus. Its mocking and sarcastic tone is reflected here, where the tuba soloist (as Satan) is given musical trouble throughout by the other parts. At first they conflict with the soloist, then the soloist makes overtures of friendship, which are treated with suspicion followed by contempt. The soloist finally gives in to their accompaniment (or do they?). There are plenty of opportunities for little theatrical touches here, if the tuba player is so inclined! The tuba part in this movement is notably more difficult than the rest of the music, and a number of optional changes have been marked to make the part easier to play, if so desired. The player is also welcome to add suitable extra embellishments to taste if they wish, within the character of the music.v. Fum, Fum, Fum! - Catalan traditionalA favourite Catalan Christmas song for centuries, this rousing melody provides a fitting way to round off the suite, with its repeated rhythmic refrain of the nonsense title phrase. It tells of the Nativity, and then it tells of the celebratory feasting and good times that the singers look forward to to honour it.Although the suite is intended to be performed whole, it is also intended for usage with a selection of movements on occasions where a shorter piece is wanted. Suggested formats include a single movement alone (2, 3, and 5 are likely most appropriate), a pair of movements (any of the first four, plus 5), and a suite of three or four movements (1 and 5, plus one or two of 2, 3, or 4 in the middle). It is suggested that a good way to design a 'pick-your-own-suite' from the movements is to think of the earlier movements as introductory to the final movement.To view a rolling score video featuring Kidlington Concert Brass please visit www.youtube.com/watch?v=QIGdul-yxxgPDF download includes score and parts.Sheet music available from:UK - www.brassband.co.ukUSA - https://satradecentral.orgDifficulty Level: 3rd Section +Length: 9.45 minutesInstrumentation:Soprano Cornet EbSolo Cornet BbRepiano Cornet Bb2nd Cornet Bb3rd Cornet BbFlugel Horn BbSolo Horn Eb1st Horn Eb2nd Horn Eb1st Baritone Bb2nd Baritone Bb1st Trombone Bb2nd Trombone BbBass TromboneEuphonium BbBass EbBass BbTimpaniPercussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£37.15A Friend I Have (Brass Band) Fendall Hill
The composer writes:'This work is a personal interpretation of the well known hymn What a Friend We Have in Jesus. This piece is autobiographical in that it reflects the friendship I have with Jesus, and some of the moods, nature and outcomes of many of those conversations. For example, the Blues section is representative of times where I present my 'blues' to him, and he turns them around. It's very personal and hard to describe the full nature of my relationship, but this music provides a good window. He is certainly my Lord, my Saviour, and my most precious friend.'PDF download includes score and full set of parts.Sheet music available from:UK - www.brassband.co.ukUSA - www.solidbrassmusic.comTo view a performance video of the work please visit:https://www.youtube.com/watch?v=cN-zYhdwaxMDifficulty Level: 1st Section +Instrumentation:Soprano Cornet EbSolo Cornet Bb1st Cornet Bb2nd Cornet BbFlugel Horn BbSolo Horn Eb1st Horn Eb2nd Horn Eb1st Baritone Bb2nd Baritone Bb1st Trombone Bb2nd Trombone BbBass TromboneEuphonium 1-2 BbBass EbBass BbDrum KitTemple BlocksTimbales
In Stock: Estimated dispatch 1-3 working days
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£98.00KirkFeld (Trombone Solo with Brass Band - Score and Parts) - Kirkhope, Grant - McKenzie, Jock
Written for Ian Bousfield and the International Trombone Festival 2017. Grant Kirkhope is a BAFTA nominated British composer who has created the soundtrack for video games that have sold in excess of 30 million copies. From "GoldenEye" to "Banjo-Kazooie", "Viva Pi?ata" to "Donkey Kong", "Kingdoms of Amalur: Reckoning" to "Civilization: Beyond Earth" and "Perfect Dark" to "Castle of Illusion starring Mickey Mouse". He has also recently scored the feature film "The King's Daughter" starring Pierce Brosnan and William Hurt and is currently working on "Yooka Laylee" and "Dropzone". Grant's score for "Viva Pi?ata" was nominated by BAFTA in the Original Score category in its 2007 awards. Grant is represented by the prestigious Gorfaine/Schwartz Agency by Cheryl Tiano and Kevin Korn. Grant has a degree in music from the Royal Northern College of Music, Manchester, where he majored in classical trumpet, is a green card holder and now lives in Agoura Hills, LA with his wife and two children. "Ian and I first met when we were around 15 years old. We both played in our county orchestra, the North Yorkshire Schools Symphony Orchestra (I was a trumpet player). I think we hit it off straight away, as we were definitely a couple of cheeky kids, if you know what I mean! We both ended up playing in Rowntree Mackintosh Brass Band for a while too which Ian's Dad, Trevor conducted. We bumped into each other again when we both went for the Shell/LSO Scholarship. I got to the area finals in Manchester so I was pretty pleased with myself but then I saw Ian and I knew it was all over! Of course Ian went on to win and the rest is history. I saw him again when I was attending the Royal Northern College of Music around 1983 by which time Ian had just got the principal chair at the Halle Orchestra. Then I guess 30 something years went by as we both went about our lives and lost touch. We re-kindled our friendship due to his wife really. She emailed me to say it was Ian's 50th birthday and she was collecting stories from all his friends over the years. After that we got back in touch and then one day on Facebook I got a message from him in typical dry Yorkshire fashion "now then Grant, I had a listen to your music and I think it's good, how about writing a piece for me ?" I was a little bit unsure at first but of course I loved Ian's playing and of course I said yes. Over a Skype call in 2016, he asked me what I thought I'd write. I said since I live in LA I'd like to write a "Hollywood" trombone piece. Imagine if John Williams had written a piece for solo trombone, that's what I'd like to write - well I'd certainly like to try" - Grant Kirkhope
Estimated dispatch 7-14 working days
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