Results
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£59.95John O'Gaunt (Overture) (Brass Band - Score and Parts) - Vinter, Gilbert
Concert Overture for Brass BandIn the year 1340 in the town of Ghent, a son was born to Edward III King of England and his Queen Phillipa. The boy, afterwards known as John O'Gaunt (Ghent) grew up to be a warrior and before he was 20 he was fighting in France beside his brother, the Black Prince. For many years he was occupied with the wars in France and Spain and was seldom in England. His first two marriages brought him great riches and position, but the love of his life was Catherine Swynford, who bore him four children. Whilst he was away , his Palace of Savoy was burnt to the ground by the mob during the Peasant's Revolt. Finally in 1394 he returned home and married Catherine, for whom he felt a strong affection since her first marriage in St. Clement Danes Church in the Strand, many years before. The Beaufort children were thus legitimised and from them sprang a long line of English Kings and Queens.Duration: 9:30Recorded on Polyphonic QPRL068D Triumphant Rhapsody
Estimated dispatch 7-14 working days
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£29.95
John O'Gaunt (Overture) (Brass Band - Score only) - Vinter, Gilbert
Concert Overture for Brass BandIn the year 1340 in the town of Ghent, a son was born to Edward III King of England and his Queen Phillipa. The boy, afterwards known as John O'Gaunt (Ghent) grew up to be a warrior and before he was 20 he was fighting in France beside his brother, the Black Prince. For many years he was occupied with the wars in France and Spain and was seldom in England. His first two marriages brought him great riches and position, but the love of his life was Catherine Swynford, who bore him four children. Whilst he was away , his Palace of Savoy was burnt to the ground by the mob during the Peasant's Revolt. Finally in 1394 he returned home and married Catherine, for whom he felt a strong affection since her first marriage in St. Clement Danes Church in the Strand, many years before. The Beaufort children were thus legitimised and from them sprang a long line of English Kings and Queens.Duration: 9:30Recorded on Polyphonic QPRL068D Triumphant Rhapsody
Estimated dispatch 7-14 working days
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£39.95Anything But Lonely (Score and Parts) - Andrew Lloyd Webber arr. Stephen Bulla
A song of great resolve from Aspects of Love which is expertly arranged for B-flat soloist and brass band by Stephen Bulla.
Estimated dispatch 7-9 working days
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£64.95Adam Zero, Suite from (Brass Band - Score and Parts)
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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£29.95
Adam Zero, Suite from (Brass Band - Score only)
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)
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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£77.00General Series Brass Band Journal, Numbers 2242 - 2245, April 2024
2242: Fanfare Prelude - Faithful in every way (Simon Gash)Lord, I come before your throne of grace (S.A.S.B. 378) has become a popular song for Sunday worship. These words of great assurance are married to a strong tune which, unlike many contemporary worship songs, suits the brass band idiom well. Although this piece will work without Percussion, the Snare Drum part, which underpins a lot of the piece, will help drive the music forward.2243: The wonders of thy grace (Norman Bearcroft)Herbert Booth's song Within my heart, O Lord, fulfil (S.A.S.B. 211) was the inspiration behind Lieut-Colonel Norman Bearcroft's three-verse setting of the hymn tune Wareham, with the title being taken from the lyrics of verse two.2244: Trombone Solo - I will wait (Andrew Mackereth)Major Leonard Ballantine has an astonishing gift for contemporary song writing. This song is a brilliant example of this, taking the idea of Jesus waiting patiently for us to accept the fullness of his offer of love.This arrangement was made at the request of Andrew Justice, former Principal Trombonist of The International Staff Band. For many years, Andrew has used this song with piano accompaniment. In making this arrangement, the composers aim was to capture the transparency you can create in piano playing.2245: The battle cry! (David Edmonds)Inspired by Lorne Barry's Trinity (F.S. 599), this piece would be well suited as a concert opener but would work in many settings as a contribution to worship. Its main feature is the driving rhythmic pattern in the Bass and Percussion sections. The music needs to be played with confidence and purpose. As the title suggests, it is a strong, inspiring battle cry, corralling the troops. This is a setting of the song by Stuart Townend and Keith Getty, O Church, arise (S.A.S.B. 819), which has become popular in recent years, not only within The Salvation Army, but also the wider Christian church.
Estimated dispatch 7-14 working days
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£55.00Triumph Series Brass Band Journal, Numbers 1359 - 1362, March 2024
1359: Festival March - Coastal Celebration (Sam Creamer)Coastal Celebration was commissioned in 2019 by Nambour Salvation Army Band for the Corps' 125th anniversary celebrations. Nambour was the birthplace of The Salvation Army's work on the Beautiful Sunshine Coast in Queensland, Australia. Firring with this theme are subtle tributes to iconic Sunshine Coast landmarks, referenced with small phrases of popular secular melodies intertwined with the main tunes What a faithful God (S.A.S.B. 378) and All through the years (S.A.S.B. 826).1360: He's always been faithful (Craig Woodland)This meditative selection is an arrangement of the song by American singer and record producer Sara, Groves, He's always been faithful. The words express the joy and thankfulness in having a relationship with Jesus and knowing his presence in life. The melody and motifs of the traditional hymn, Great is thy faithfulness (S.A.S.B. 26), are heard throughout.1361: Christ's living water (Dean Jones)Christ's sacrificial love has been beautifully portrayed through the imagery of water in many songs, none more so that the skilfully crafted words we find in the chorus of I know a fount (S.A.S.B. 197), written by Oliver Cooke. To enhance the sentiments expressed, the pure sounds derived from Handel's Water Music fit perfectly in terms of music and imagery.1362: March - Fear Not! (Avelan Ntsiete)The Salvation Army continues to proclaim its music ministry in all corners of the world and, with this item under review, we introduce a new composer, originally from Congo Brazzaville, Central Africa. Avelan Ntsiete is currently a Bandsman at the Lilas Corps in Paris but has previously served in the Congo Brazzaville Territorial Band. This march, in traditional format, was written for an evangelistic campaign in Kindamba, where civil war has brought upheaval to the area and uncertainty for the local Salvationists. The composer was part of a small brass group which travelled for over 24 hours by truck and on foot to reach Kindamba and bring encouragement to the Salvationists within that community.
Estimated dispatch 7-14 working days
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£38.95Unity Series Band Journal - Numbers 522 - 525, October 2023
522: Festival March - The Rescuers (Andrew Hedley)This exciting and bright festival march comes from a new contributor to the band journals. Andrew Hedley is a bandsman at Chester-le-Street Corps and a member of the Euphonium Section of the International Staff Band. This work contains inventive harmonic and melodic patterns and we hope this will be the first of many works from this composer to be seen in our journals.523: Moses and Pharaoh (Ralph Pearce)This piece owes its creation to the playing of the Montclair Citadel Young Peoples' Band in the Sunday School assembly every weekend. The song Pharaoh, Pharaoh is extremely popular and is sung with gusto and much movement. The presentation of this song derives for an accompaniment written for the band to play along with the singing. To widen its use, the spiritual Go down, Moses (STTL Vol.7, Part 2) was added to make the present composition. This music should have drive throughout and be played with a sense of fun.524: Lord, to thee (Alan Williams)This is a setting of the tune Hendon (T.B. 249). The piece uses the first verse of Frances Ridley Havergal's commonly associated text 'Take my life and let it be consecrated, Lord, to thee' (S.A.S.B. 623), and from there it takes its title.525: Song Arrangement - This is why (Noel Jones)This music is based on the tune This is why (T.B. 353) by Elisha Albright Hoffman and this two-verse arrangement reflects the great song of testimony Would you know why I love Jesus (S.A.S.B. 912). An associated scripture reference is found in Mark 10:45 'For even the Son of Man did not come to be served, but to serve, and to give his life as a ransom for many'. The motif 'Would you know' occurs in the opening bars and is repeated throughout the piece, along with fragments of the first verse. The chorus confirms the hoy that Christians experience knowing that Christ's sacrifice has bought forgiveness for our wrongdoings.
Estimated dispatch 7-14 working days
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£40.00The Grand Union Waltz (Brass Band - Score and Parts)
The Grand Union Waltz was written as a wedding present and represents a shared love of narrow-boating, the Grand Union Canal being the longest canal in Great Britain. Suitable for 2nd Section bands and above
Estimated dispatch 7-14 working days
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