Results
-
£17.50The Mansions of Glory (Brass Band - Score only) - Bates, Jonathan
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution. Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God."
Estimated dispatch 7-14 working days
-
£17.50The Mansions of Glory (Score Only)
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution.Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Amid the breathless silence of the audience, she repeated: 'My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.' This was all. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God." 1. My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.2. I love thee because thou hast first lovd me,And purchased my pardon on Calvary's tree;I love thee for wearing the thorns on thy brow,If ever I loved thee, my Jesus, 'tis now.3. I will love thee in life, I will love thee in death, And praise thee as long as thou lendest me breath; And say, when the death-dew lies cold on my brow; If ever I loved thee, my Jesus, 'tis now.4. In mansions of Glory and endless delight,I'll ever adore thee and dwell in thy sight; I'll sing with the glittering crown on my brow: If ever I loved thee, my Jesus, 'tis now. William Ralph Featherstone
Estimated dispatch 7-14 working days
-
£84.95Turbulence, Tide and Torque (Baritone Solo with Brass Band - Score and Parts) - Graham, Peter
Concerto for BaritoneTurbulence, Tide and Torque can be considered to be a companion piece to my 2008 Euphonium Concerto In League with Extraordinary Gentlemen, and indeed can be performed on Euphonium (vintage or medium bore instrument preferred). Whereas the gentlemen in question in the latter work were fictional (e.g. Sherlock Holmes and Phileas Fogg), the former pays tribute to three real life women who were very much true pioneers and heroines of their age.Turbulence: Harriet Quimby (b. 1875) was one of the world's best woman aviators, her significant and historic achievement being the first woman to fly across the English Channel. Sadly, in her lifetime very few people were aware of her 1912 accomplishment; potential press coverage was dominated by the sinking of The Titanic only two days before.Grace Darling (b. 1815) is a name much more familiar to the public today, and in her lifetime she was lauded as a national heroine. A humble lighthouse keeper's daughter from Northumberland, her participation in the rescue of survivors from the wrecked paddle-steamer Forfarshire is well documented (a museum dedicated to her achievements located in Bamburgh, the town of her birth). This movement, Tide, develops a main theme from my large scale work Harrison's Dream, reflecting on the souls lost in the disaster.The final movement Torque, opens with a sudden gear change such as might have been undertaken by Dorothy Levitt (b. 1882), the woman's world land speed record holder, in her Napier racing car. Levitt, who following her 1906 record-breaking achievement was described as the Fastest Girl on Earth, went on to write extensively about her experiences, encouraging females to take up motoring through her articles in The Graphic newpaper.Turbulence, Tide and Torque was commissioned by and is dedicated to Katrina Marzella as part of an Arts Council of England funded residency I was awarded with the Black Dyke Band in 2018.- Peter GrahamDuration: 15.00
Estimated dispatch 7-14 working days
-
£80.00The Unfortunate Traveller (Brass Band - Score and Parts) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
-
£40.00
The Unfortunate Traveller (Brass Band - Score only) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
-
£80.00The Unfortunate Traveller (Brass Band - Score and Parts)
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
-
£40.00
The Unfortunate Traveller (Brass Band - Score only)
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
-
£30.00My Little Welsh Home - Traditional
A beautiful arrangement by Tim Paton of a Welsh song by W S Gwynne Williams. Created in memory of his mother, Tim has produced a wonderful version for brass band and has also included an optional vocal solo or unison choir line.Comments from the arranger:I have arranged [My Little Welsh Home] in memory of my mother. [She] was born, Doreen Davies, on 27th November 1918, in Haverfordwest, Pembrokeshire, a small town in South West Wales. She had a beautiful voice, and met my father, Bill Paton, during World War II, whilst she was singing in a troop concert at the County Theatre in her home town, and my father was the MC.Throughout her life, my mother and father entertained, and she was singing right up until the final months of her life. She spent many years in Weston-super-Mare, Somerset, a seaside town in South West England, and it was here that she passed away on 20th September 2004. During the last several months of her life, she often referred to the song My Little Welsh Home:Here are the words.I am dreaming of the mountains of my homeOf the mountains where in childhood I would roamI have dwelt 'neath southern skiesWhere the summer never diesBut my heart is in the mountains of my homeI can see the little homestead on the hillI can hear the magic music of the RhyllThere is nothing to compareWith the love that once was thereIn the lonely little homestead on the hillI can see the quiet churchyard down belowWhere the mountain breezes wander to and froAnd when God my soul will keepIt is there I want to sleepWith those dear old folks that loved me long agoLooking at the words, I can see why it meant so much to her. Haverfordwest is at the foot of the Preseli Mountains, and her home and church were at the top of a hill. My mothers' ashes were taken back to her own little Welsh home, and laid to rest in the grounds of the church where she had been Christened, Confirmed and Married.Look and Listen (Score-reading digital sound-sample):
In Stock: Estimated dispatch 3-5 working days
-
£19.95Mythical Tales (Brass Quintet)
Mythical Tales (2012) is a ten minute work in three movements which represents three of the most popular folk stories or indeed in the case of the first movement, true stories, in Welsh culture.I. Owain GlyndwrOwain Glyn Dwr was born around the 1350s into an Anglo-Welsh gentry family. His estates provided him with a modest power base in north-east Wales. After a number of disputes, he proclaimed himself prince of Wales in September 1400.Glyn Dwr led several battles with the English, although he was never captured. Over the next few years punitive measures were enacted to keep control of Wales, but these were matched by many acts of Welsh rebellion - among them the capture of Conwy Castle in April 1401. In June 1402, at the Battle of Pilleth on Bryn Glas Hill, Glyn Dwr led his troops to victory over an English army. By now Glyn Dwr was leading a national revolt. In 1404, he led a march towards Wocester, but failed, with the English capturing parts of Wales. He died defending his country.II. MyfanwyMyfanwy was the most beautiful woman in Powys, but she was vain and liked nothing better than to be told how beautiful she was. Many handsome men would court her, but she would not show interest because they couldn't sing and play to her, reflecting her true beauty.Luckily, a penniless bard, Hywel ap Einion was in love with Myfanwy, and one day plucked up the courage to climb up the hill to the castle with his harp, to sing and play to her. He's allowed in to play for her, and while he's playing and complimenting her on her beauty she can neither listen nor look at any other man. Because of this Hywel believes that she has fallen in love with him. But his hopes are dashed when a richer, more handsome and more eloquent lover comes along. The music of the second movement portrays the despair and upset that Hywel must have felt.III. Battle of the DragonsMany centuries ago when dragons roamed the land, a white ice dragon descended on a small village and decided to live there, not knowing that a red fire dragon was already living nearby.Six months later the red dragon awoke to find a huge white dragon wrapped around his village that he cared for. He could tell that his people were ill from the cold. The Land was bare; nothing was able to grow not even the pesky dandelions. The people were starving. The people longed for the red dragon to free them from the icy misery, so that their life and land could return to the sunny and warm climate that it was once before.The red fire dragon challenged the white ice dragon to a single combat fight at the top of the cliff the next day. The people of the village watched in terror awaiting their fate. The red dragon beat the white dragon, and the crowd cheered with joy as the red dragon roared with triumph. The mayor of the village declared that the land should always fly a flag with the symbol of a Red dragon on it. The flag's background should be half green and half white; the green to represent the lush green grass of the land and the white to represent the ice. This way no one would ever forget what happened.
Estimated dispatch 7-14 working days
-
£44.95Ae Fond Kiss (Tenor Horn Solo with Brass Band - Score and Parts) - Burns, Robert - Graham, Peter
Ae Fond Kiss, by the Scottish poet Robert Burns, is widely recognised as being one of the most poignant songs of lost love ever written. A brief affair with a Mrs Agnes Craig McLehose (known to Burns as Nancy) ended with her decision to join her estranged husband in Jamaica. Her parting gift to Burns was a lock of her hair which he had set in a ring. His gift to her included the poem, the first verse of which reflects Burns' feelings of resignation and despair:Ae fond kiss, and then we sever;Ae fareweel, alas, for ever!Deep in heart-wrung tears I'll pledge thee,Warring sighs and groans I'll wage thee!
Estimated dispatch 7-14 working days
View Music