Results
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£33.08Les Chasseresses from 'Sylvia' (Brass Band) Delibes arr. Rob Bushnell
Clement Philibert Leo Delibes was a French composer, best known for his ballets and operas, including works such as Lakme (with its famous "Flower Duet"), Coppelia and Sylvia (both key works in the development of modern ballet). The latter started as a play, Aminta, by the Italian poet Torquato Tasso, which Delibes set to music. It was then adapted for the Paris Opera with rehearsals starting in August 1875. The premiere took place on 14 June 1876 and was the first ballet to be shown at the newly-built Opera Garnier. Whilst the scenery and costumes were created by top artists and designers (Cheret and Lacoste), it was Delibes's music that shown thrown, being said to have saved the production, preventing the ballet from drifting into obscurity.Sylvia is said to be one of the first modern ballets, with Tchaikovsky remarking to composer Sergei Taneyev upon its ingenuity: "... the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony." Although Swan Lake, a contemporary to Sylvia, is considered one of the best ballets there is, Tchaikovsky preferred Sylvia to his own work, saying Swan Lake was "poor stuff in comparison". Tchaikovsky said to Taneyev, "I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake". The music to Sylvia, rather than setting only the mood, also sets the action and is noted for its use of leitmotifs - Delibes was an admirer of Wagner - and more dominant use of brass and wind. The most famous piece from this ballet is the Pizzicati in the third act.Act I of the ballet takes place in sacred wood, where creatures are worshipping before Eros when Sylvia arrives with her huntresses to mock the god of love. Aminta, a lowly shepherd and infatuated with Sylvia, protects the deity and Sylvia is wounded by Eros's arrow. The hunter Orion kidnaps Sylvia, whilst Eros revives Aminta. Act II takes place in Orion's Island cave, where Sylvia tries to bribe Orion with jewels and wine. Unsuccessful, she appeals to Eros for help, who arrives and takes her to the temple of Diana (where the final act takes place). Orion and Aminta fight, Sylvia and Orion cause the goddess of the hunt, Diana, to be outraged, smiting Orion and denying the love of Aminta and Sylvia. Eros shows Diana a vision, which changes her mind and the couple finally come together.This brilliant and lively fanfare that introduces the huntresses in the first act is arranged here for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been lowered by a tone compared to the original. A recording of the original composition can be found here https://youtu.be/6yoGrUH38PI?si=0L0bFa1qXnYNvkR3 Duration: Approx. 3.10 minutes Difficulty Level: 1st Section + This PDF download includes the full score and parts. Includes alternative parts for soloist in Eb, horns in F and lower brass in bass clef. Sheet music available at www.brassband.co.uk (UK) or https://satradecentral.org (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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£33.08Hope (Brass Band) Nathanael Watchorn
Hope is a deeply reflective and uplifting work for brass band, shaped by themes of serenity, renewal, and spiritual hope. Composer Nathanael Watchorn revisits a melody and harmonic framework originally conceived for an unrealised project - material that, even at its inception, carried the gentle strength and stillness of a benedictory chorus. Sensing its innate sense of calm and assurance, Watchorn sought to give the music new life through words that would illuminate its emotional core. Those words came from his father, Major Julian Watchorn, whose poetic text - titled Benediction: The Hope of Christ - speaks of grace, love, joy, and the sustaining power found in Christ. The verses provide a clear spiritual lens through which conductors, performers, and listeners alike can experience the music. Whether heard as a musical benediction or a stand-alone concert work, Hope provides a meaningful and deeply moving moment of stillness amid the noise of modern life. To view a video of Regent Hall Band performing the work please visit www.youtube.com/watch?v=489X1cwPYi0&list=RD489X1cwPYi0&start_radio=1 Duration: approx. 3.00 minutes Difficulty Level: 3rd Section + This PDF download includes parts and score. Sheet music available at www.brassband.co.uk (UK) or https://satradecentral.org (USA) Instrumentation: Soprano Cornet Eb Solo Cornet Bb 1st Cornet Bb 2nd 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 1-2
In Stock: Estimated dispatch 1-3 working days
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£33.08Men of Harlech (Brass Band) Welsh Traditional arr. Alex McGee
This contemporary take by Alex McGee on the Welsh folk song Men of Harlech will be an entertaining addition to concert programmes. The arranger writes: 'Men of Harlech is perhaps one of the most well known of all traditional Welsh folk songs, but not like this. This setting was inspired by a composer who I first encountered as a 14-year-old playing in his first regional brass band, Gareth Wood. Upon learning of the death of Gareth I felt compelled to honour his memory and his music in composition. I struck upon the idea to do what he had done to the tune Sosban Fach to Men of Harlech, to take the tune as the raw material and try to craft it into something new yet recognisable, modern yet accessible. The work attempts to highlight what for me are the underlying characteristics of we Welsh; prone to melancholy but quick to find joy, contradictory, inviting, welcoming and warm but capable of housing a fierce streak of nationalistic pride. I dedicate this work to Gareth Wood and thank him for his music.' To view a rolling score video of the work please visit: https://www.youtube.com/watch?v=YSoZnpnhEjQ Duration: 3.30 minutes Difficulty Level: 3rd Section + PDF download includes parts and score. 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 BbTimpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£90.00Vienna Nights (Brass Band - Score and Parts)
The City of Vienna stands at one of the historic crossroads of the world, linking east and west and embracing artistic influences from all sides. In the 250th anniversary year of Mozart's birth, this fantasy on Mozart's celebrated Piano Sonata in A (K331), has been composed true to the form and content of the original, but also to the underlying substance of the conception.One of Mozart's distinguishing features, and one that links him to later music by Beethoven, Schubert, Mahler and Schoenberg, is the breadth of his musical vision. His music links intellectual rigour with ecstatic utterance and darker preoccupations. It is, perhaps, this shadow-laden side of his musical nature which gives his work a profundity often absent in the work of his contemporaries. Admirers of his Requiem Mass or the Statue music in Don Giovanni will recognise that it is this extra sense of reality which makes Mozart so relevant to the modern age, and where he may link hands with the other great Viennese thinkers such as Berg, Webern and Adorno.The composer follows the three movement plan of the Sonata closely. The original begins with a Theme and Variations which is freely quoted. His Minuet is mirrored in the Recitative and Notturno, where each section of the band lays down a metaphoric rose to his memory. Famously, the sonata ends in populistic style with a Turkish Rondo. Ever since the Hapsburg-Ottoman Wars, which came to an end in the seventeenth century, Viennese composers have included Turkish elements in their music, not least in the use of certain percussion instruments. Vienna Nights is thusly a homage.It celebrates the world's greatest composer, but also the city which fostered his work. Here, in your imagination, you might easily conjure up a caf table near the Opera House, where Mozart, Mahler and Sigmund Freud, observed by us all from a discreet distance, may meet as old friends.
Estimated dispatch 7-14 working days
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£12.00
Vienna Nights (Brass Band - Study Score)
The City of Vienna stands at one of the historic crossroads of the world, linking east and west and embracing artistic influences from all sides. In the 250th anniversary year of Mozart's birth, this fantasy on Mozart's celebrated Piano Sonata in A (K331), has been composed true to the form and content of the original, but also to the underlying substance of the conception.One of Mozart's distinguishing features, and one that links him to later music by Beethoven, Schubert, Mahler and Schoenberg, is the breadth of his musical vision. His music links intellectual rigour with ecstatic utterance and darker preoccupations. It is, perhaps, this shadow-laden side of his musical nature which gives his work a profundity often absent in the work of his contemporaries. Admirers of his Requiem Mass or the Statue music in Don Giovanni will recognise that it is this extra sense of reality which makes Mozart so relevant to the modern age, and where he may link hands with the other great Viennese thinkers such as Berg, Webern and Adorno.The composer follows the three movement plan of the Sonata closely. The original begins with a Theme and Variations which is freely quoted. His Minuet is mirrored in the Recitative and Notturno, where each section of the band lays down a metaphoric rose to his memory. Famously, the sonata ends in populistic style with a Turkish Rondo. Ever since the Hapsburg-Ottoman Wars, which came to an end in the seventeenth century, Viennese composers have included Turkish elements in their music, not least in the use of certain percussion instruments. Vienna Nights is thusly a homage.It celebrates the world's greatest composer, but also the city which fostered his work. Here, in your imagination, you might easily conjure up a caf table near the Opera House, where Mozart, Mahler and Sigmund Freud, observed by us all from a discreet distance, may meet as old friends.
Estimated dispatch 7-14 working days
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£34.95Carol of the Bells (Brass Band - Score and Parts)
Christmas time is my favourite time of year. I love the festive spirit and all the Christmas music both traditional and modern.This piece is based on the traditional Ukrainian Bell Carol that was composed by the Ukrainian composer Mykola Dmytrovych Leontovych. Throughout the piece you hear a four note ostinato that is the backbone to the music. I have taken those ideas and motifs and have mixed them with some of my own to create this piece of Christmas music.For something different I have given this piece two endings for the conductor to choose. The first ending is at bar 189 (page 18 in the score) where there is the repeated four bar ostinato section in the solo cornets and percussion that is marked "Keep repeating and fade to nothing". This is so the piece can either fade to nothing or for a bit of originality the piece can fade into the next piece during a concert programme.For ending number two you need to cut from bar 189 to 193 (bypassing ending one). And continue to the end. The choice of endings should bring some interesting performances of this wonderful traditional Christmas piece.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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£59.95Essay (Brass Band - Score and Parts) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£29.95
Essay (Brass Band - Score only) - Gregson, Edward
This work was specially commissioned as the test piece for a new brass band competition in 1971, held at the Royal Albert Hall, London. It is in three movements, the titles of which all have literary connotations. The first movement, Dialogue takes the form of 'conversations' between the instruments, based on the opening melody announced in unison on cornets and euphoniums. A second theme is introduced on the flugel horn and developed alongside this, creating a sonata form shell.The second movement, Soliloquy is dedicated to the memory of Gilbert Vinter - a composer who did so much in the 1960s to bring the brass band into the modern world. The movement is poignant in mood, which is depicted by a cornet solo announced after a brief introduction. The middle section builds to a powerful climax, at which point the opening theme of the first movement is heard again. Tranquillity returns however, with a solo trombone now playing the original theme with other instruments adding decorative accompanying patterns.The final movement, Epigram, creates strong rhythmic contrasts and exploits the more virtuoso character of the brass band. The middle section, with its changing time patterns and open expansive melody, suggests a 'big-country' style. A rhythmically charged coda concludes the work in exciting fashion.Duration: 12.00
Estimated dispatch 7-14 working days
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£169.99SPIRIT OF PUCCINI, The (Brass Band) - Pallhuber, Hermann
The famous Puccini motifs in this work are taken from Tosca (E lucevan le stelle), Turandot (Nessun dorma), Gianni Schicci (O mio babbino caro) and a quite funny little persifl age of the aria Senti L'ora e vicina from Tosca. The Spirit of Puccini has testing moments for each of the principal players of the band?s sections. Even although the music was inspired by this famous Italian composer, Hermann Pallhuber has succeeded in creating a piece of 'real band music' combining both the Italian influences and the modern British brass band sound. Duration: 16:00.
Estimated dispatch 7-14 working days
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£174.99The Turing Test (Brass Band - Score and Parts) - Dobson, Simon
Alan Turing is considered the father of modern computational science and much, if not all, of our modern computer technology and the connectivity that we now take for granted is born of the work of this one great, but troubled man. His famous test was designed to prove whether artificial intelligence (AI) could successfully imitate human thought. The single movement of The Turing Test is essentially non-programmatic, but it does seek to show something of the emotion and colour of Turing's life in its different sections. The composer employs bi-tonality and complex rhythms to show opposing worlds colliding. At the end of each test, we must decide: has true AI been born? Duration: 19.45
Estimated dispatch 7-14 working days
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