Results
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£54.99Flashback - John DeBee
Which of us does not have them, memories? Everyone sometimes remembers things from the past, be they happy memories or not. Sometimes, a scent may remind us of a particular place, or a tune may bring back memories of a certain situation. John DeBee experienced something similar when he heard a song on the radio: he immediately picked up his pen and composed 'Flashback'. It has become a piece that appeals to the ear, which will provide both the musicians performing it and their audience with pleasant memories.
Estimated dispatch 5-14 working days
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£29.95Adam Zero, Suite from (Brass Band - Score only) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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£19.65
Adam Zero, Suite from (Brass Band - Study Score) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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£64.95
Adam Zero, Suite from (Brass Band - Score and Parts) - Bliss, Arthur - Childs, Robert
Selected as the Section 2 test piece for the National Brass Band Championships of Great Britain 2025Following his ballet Checkmate, Bliss composed another score for the, by then, Sadler's Wells Ballet, Miracle in the Gorbals, which was choreographed by Robert Helpmann, to a scenario by Michael Benthall. Premired in 1944, the ballet made a considerable impact and was a box-office success. It was followed in turn by a further collaboration with Helpmann and Benthall, Adam Zero. This would serve Helpmann, in the eponymous role, as a vehicle in two respects: demonstrating his gifts as a dancer-actor and as a choreographer. First performed at the Royal Opera House, Covent Garden, on 8 April 1946, Adam Zero was conducted by Constant Lambert, the work's dedicatee. Bliss considered it 'his most varied and exciting ballet score'. Benthall provided a synopsis for the programme:There is a philosophy that life moves in an endless series of timeless cycles. As Nature passes through Spring, Summer, Autumn and Winter, so man is born, makes a success in his own particular sphere, loses his position to a younger generation, sees his world crumble before his eyes and only finds peace in death. This age-old story is told in terms of a Company creating a ballet and calling on the resources of the theatre to do so. Lighting, stage mechanism, dance conventions, musical forms and costumes and scenery of all periods are used to symbolize the world of 'Adam Zero'.Apart from Adam, as the Principal Dancer, other main roles included the Stage Director (representing Omnipotence), and Adam's Fates (Designer, Wardrobe Mistress, and Dresser). 'The Woman in this allegory', wrote Bliss, 'under the symbol of the Choreographer, was both the creator and destroyer of Adam: his first love, his wife, his mistress, and finally the figure of beneficent Death.' When the curtain rose, the 'audience saw the Covent Garden stage right back to the wall, completely empty except for the protagonists, 'the Company poised, still and expectant, as they await the birth of... Adam Zero.'Unfortunately, soon after the premire, Helpmann injured himself and had to withdraw from the remaining performances. Despite generally positive reviews, the ballet did not capture the imagination of audiences and, to Bliss's considerable disappointment, was not revived. Seventy years would elapse before its first major return to the stage, in 2016, performed by the ballet company of Stadttheater Bremerhaven with choreography by Sergei Vanaev.Bliss extracted a concert suite from the ballet, conducting its first performance with the City of Birmingham Symphony Orchestra on 28 October 1948. For his own suite, arranged for brass band in 2023, Dr Robert Childs chose three dances linked to the seasons, book-ending them with the ebullient 'Fanfare Overture' and 'Fanfare Coda'. After Adam has grown to manhood, his Fates clothe him in a costume synonymous with confident youth, appropriate for the virile, ardent 'Dance of Spring'. In the 'Approach of Autumn', Adam, now wearing a sombre costume, has grown older: his Fates have streaked grey in his hair and put lines on his face. But they had earlier raised Adam to the zenith of his power, and the 'Dance of Summer' depicts him in the prime of life, in music of sweeping grandeur. The 'Fanfare Coda' signals that the next cycle of life is about to begin.Duration: 10.30
Estimated dispatch 7-14 working days
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£44.95Trombone Concerto (Trombone Solo with Brass Band - Score only) - Wiffin, Rob
My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout! It was composed in Spain in the summer of 2010. Once I started writing I realised that this concerto was inevitably going to draw on my own experiences as a trombone player. The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not in the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo. The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write something ineluctably 'cantabile' as we trombone players rarely get a chance to play the melody. There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson, that great exponent of the singing style in trombone-playing and my teacher at college died in the summer of 2010 so it seemed appropriate to dedicate this movement to him. The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist. While wanting to test the instrument I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.- Rob Wiffin
Estimated dispatch 7-14 working days
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£87.95
Trombone Concerto (Trombone Solo with Brass Band - Score and Parts) - Wiffin, Rob
My Trombone Concerto was commissioned by Brett Baker following an earlier piece I had written for him called Shout! It was composed in Spain in the summer of 2010. Once I started writing I realised that this concerto was inevitably going to draw on my own experiences as a trombone player.The first movement was really a matter of getting the right thematic ideas and balancing the tutti and solo passages so, for formal structure, I studied the Gordon Jacob Trombone Concerto. There is a lyrical section preceding the first Allegro that owes much in spirit (but not in the actual music) to The Eternal Quest, Ray Steadman-Allen's Salvation Army solo.The slow movement seemed determined to come out in the vein of a Richard Strauss song. I wanted to write something ineluctably 'cantabile' as we trombone players rarely get a chance to play the melody. There is a brief allusion to that wonderful moment when the trombone gets to sing above the orchestra in Sibelius' seventh symphony. Arthur Wilson, that great exponent of the singing style in trombone-playing and my teacher at college died in the summer of 2010 so it seemed appropriate to dedicate this movement to him.The last movement is the lightest of the three in style and is slightly jazz-inflected, hopefully providing some fun for the soloist.While wanting to test the instrument I did not set out with the intention of making the concerto difficult but there are undoubtedly challenges of technique, range and style to be met by the soloist.- Rob Wiffin
Estimated dispatch 7-14 working days
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£60.00From the Shores of the Mighty Pacific (Cornet Solo with Brass Band - Score and Parts) - Clarke, Herbert L. - Wilkinson, Keith M.
Cornet Solo with Brass BandHerbert L. Clarke (1867 - 1945) is regarded by many as one of the finest cornet players of all time, noted not only for his amazing technique but also for his warm, lyrical tone. He has left a multitude of cornet solos as well as collections of studies which are still very widely used. He was a member of The Sousa Band briefly in 1893 and then from 1898 to 1917 where he was not only the distinguished cornet soloist but also became assistant director.From The Shores Of The Mighty Pacific is an all-time favourite rondo-caprice cornet solo and was first published in 1912. A brass band arrangement was requested by Chris Lichtler, principal cornet of Brass Band of the Western Reserve, musical director Dr. Keith M. Wilkinson. Chris has performed it many times with BBWR and it was recorded by them on the CD, Without Reserve!.
Estimated dispatch 7-14 working days
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£24.95MUSIC FOR KANTARA (Brass Band Extra Score) - Downie, Kenneth
4th Section Test Piece 2016 National Finals of the British Brass Band Championship. Music from Kantara was written in 1994 and was first performed by Watership Brass, a band based near Newbury. The title comes from the name of the former home of the composer, in Winchester, a name which was inherited from the previous owners, and which presumably comes from the ruined castle of that name on the Northern coast of Cyprus. The music is not programmatic: it does not tell a story. It is a three-movement suite of absolute music, in a tuneful and straightforward idiom. The slow, central movement calls for playing of a sensitive, vocal nature. Duration: 9:00
Estimated dispatch 7-14 working days
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£59.95
MUSIC FOR KANTARA (Brass Band Set - Score and Parts) - Downie, Kenneth
4th Section Test Piece 2016 National Finals of the British Brass Band Championship. Music from Kantara was written in 1994 and was first performed by Watership Brass, a band based near Newbury. The title comes from the name of the former home of the composer, in Winchester, a name which was inherited from the previous owners, and which presumably comes from the ruined castle of that name on the Northern coast of Cyprus. The music is not programmatic: it does not tell a story. It is a three-movement suite of absolute music, in a tuneful and straightforward idiom. The slow, central movement calls for playing of a sensitive, vocal nature. Duration: 9:00
Estimated dispatch 7-14 working days
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£37.95Benvenuto Cellini (Brass Band - Score only) - Berlioz, Hector - Wright, Frank
Berlioz's opera Benvenuto Cellini was first produced in Paris in 1838 but was withdrawn as a failure, and it was not until the production in Dresden in 1888 that it was finally acclaimed by the Germans as a triumph. Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story, laid in Rome during the mid-sixteenth century, is not strictly historical. The short opening Allegro, marked deciso con impeto, is conceived in the most brilliant Berlioz manner, utilising full instrumentation. In the Larghetto we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaptation of Teresa's aria (Act I). Towards the end the Cardinal theme is re-introduced by trombones, fortissimo against an energetic cornet and euphonium passage (senza stringendo - without hurry, says the score). After a unison passage storming skywards, there is a sudden, dramatic three-bar silent pause broken by Eb basses alone, again stating the Cardinal theme. A simple molto crescendo on the dominant, begun piano, leads to the long, resounding chord.
Estimated dispatch 7-14 working days
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