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£32.50Vienna Nights (Score Only)
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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£83.00
A Bournemouth Suite - Benjamin Tubb
Bournemouth Suite was written by Benjamin Tubb in 2005, when the composer was just 17 years of age. After spending many school holiday weeks with his grandparents in the coastal town of Bournmouth, it was obvious that these experiences would make a great basis for a composition.This testpiece is split into three separate movements: Balloon Ride, The Pier at Night and The BIC. Each movement has its own unique character, although there are ideas shared by all three throughout, one of which is the opening syncopation.Balloon RideThe First movement, Balloon Ride, describes a journey on "The Bournemouth Eye", a tethered hot air balloon that takes you up 500 feet. It's located in the middle of the town centre, which enables you to see surrounding countryside for up to 20 miles! The movement begins rather ominously as the balloon raises from the ground which leads into a more lively section caharacteresed by the repeating quavers in the lower brass and woodblock. The movement ends in much the same way as it started - signalling the return to terra firma.The Pier At NightDuring the summer there are several large firework displays in the town centre. The second movement, The Pier At Night descirbes an evening spent on the beach in deckchairs watching the montage of colours in the night-time sky. With demanding solos for horn and cornet, as well as exposed playing spread throughout the band, this slow movement will really test a band's expressive and lyrical playing.The 'BIC'The Bournemouth INternational Centre, also known as "The BIC" is one of Bournemouth's most visited attractions, and regularly hosts shows such as 'Riverdance' and pantomimes. Inside is a world of entertainment and the centre itself is just a stone's throw from both "The Bournemouth Eye" and the Pier. The 3rd movement has been written to describe the buzz of activity surrounding the BIC, and the entire works ends with the same syncopated motif from the beginning.A Bournemouth Suite was set as the 'set-test' at the Pontins Brass Band Championships 2009.
Estimated dispatch 7-14 working days
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£33.66Les 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 www.cimarronmusic.com (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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£34.95Descent, The - Christopher Bond
The Descent takes its inspiration from Victorian author Jules Verne; specifically, his work Twenty Thousand Leagues Under the Sea. In Twenty Thousand Leagues Under the Sea, Professor Arronax finds himself a prisoner of the mysterious Captain Nemo, on a remarkable submarine called the Nautilus. Nemo is one of Verne's most memorable characters. He's a man who has turned his back on the world, and his name - Nemo - means 'No Man.' He has vowed never to set foot on dry land ever again. Verne gives his hero's brilliance and benevolence a dark underside - the man's obsessive hate for Empires and Imperialism. Captain Nemo is a genius, an engineer, an artist, an athlete, sometimes a pacifist, sometimes a righter of wrongs, sometimes an out and out villain, and he invented the Nautilus. The Descent is based on the idea of a descent to the depths of the ocean in the Nautilus with Captain Nemo, with the cornet soloist expressing both the anguish and reflective sides of the character. On one hand, a troubled and agitated figure, juxtaposed with the reflective memories of his homeland, children, mother and father. The work was written for and commissioned by Flowers Band as part of their programme of music at Brass in Concert 2019.
Estimated dispatch 10-14 working days
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£34.95Lady of the Lake - Christopher Bond
A remote Carmarthenshire lake shrouded in Welsh legend has been named as one of the 1,000 must-see sights across the globe by an influential travel bible. Llyn y Fan Fach, 12km southeast of Llandovery in the Brecon Beacons, is the only spot in Wales to make the list, which was put together by Lonely Planet. "This isolated drop of blue, beneath a cirque of raw Welsh hills, is enchanting - and enchanted," Lonely Planet's 1,000 Ultimate Sights tells readers. The story goes that in the 13th Century, a farmer grazing cattle on the nearby slopes spotted the most beautiful woman he'd ever seen. She was a fairy maiden, who agreed to marry him on one proviso - he must not hit her more than twice. In time, the inevitable happened - three strikes, and the otherworldly wife disappeared back into the lake, taking her magic cows with her. This work, for flugel horn and brass band, is reflective in nature, portraying the dismay of the man in losing his wife for his own selfishness. The work was written for and premiered by Rob Nesbitt & City of Cardiff (Melingriffith) Band, at the 2019 Welsh Open Entertainment Contest in Porthcawl, Wales.
Estimated dispatch 10-14 working days
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£79.95Lost Village of Imber, The - Christopher Bond
The village of Imber on Salisbury Plain had been inhabited for over one thousand years when it was evacuated in 1943 to make way for military training in the Second World War. At the time, with preparations for the Allied invasion of Europe underway, most villagers put up no resistance, despite being upset, with the belief that they'd return once the war had concluded. To this day, Imber and its surrounding land remain a military training ground. The villagers never returned, and just the shell of what was once a community remains. Structured in three movements, it is on this very real story that the work is based, setting out the series of events of 1943 in chronological order. The first movement, On Imber Downe, portrays a sense of jollity and cohesiveness - a community of individuals living and working together before news of the evacuation had broken. Sounds of the village are heard throughout, not least in a series of percussive effects - the anvil of the blacksmith; the cowbell of the cattle and the bells of the church. The second movement, The Church of St. Giles, begins mysteriously and this sonorous, atmospheric opening depicts Imber in its desolate state and the apprehension of residents as they learn they have to leave their homes. Amidst this is the Church, a symbol of hope for villagers who one day wish to return, portrayed with a sweeping melodic passage before the music returns to the apprehension of villagers facing eviction around their sadness at losing their rural way of life. In complete contrast, the third movement, Imemerie Aeternum, portrays the arrival of the military, complete with the sounds of the ammunition, firing and tanks - sounds which were all too familiar to those living in the surround areas. To close, the Church of St. Giles theme returns in a triumphant style, representing the idea that the church has always been, even to this day, a beacon of hope for the villagers and local community - both the centrepiece and pinnacle of a very real story. The work was commissioned by Bratton Silver Band in celebration of the band's 160th Anniversary, with funding from the Arts Council National Lottery Project Grants Fund and the Brass Bands England Norman Jones Trust Fund.
Estimated dispatch 10-14 working days
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£79.95Neverland - Christopher Bond
"All children, except one, grow up" wrote J.M. Barrie about Peter Pan in 1911; the first line and an expression of beautiful melancholy and fantasy, coming to represent one of the best-loved children's stories of the twentieth century. 'Peter & Wendy', as the book was first released, has subsequently been transformed into adaptations for film and stage, with subsequent books based on this iconic tale. In writing this new work for brass band, the composer has taken three of the main themes from J. M. Barrie's book, and used these themes to create new musical material, forming a work in three contrasting sections. I. Journey to Neverland The opening of the work, mysterious in its style, reflects the opening chapters of the story - a leafy London street, still in the dead of night - with the music transforming quickly as it builds in texture and momentum - a Journey to Neverland through the night sky; Second Star to the Right and straight on 'til morning. "Then Peter knew that there was not a moment to lose. 'Come,' he cried imperiously, and soared out at once into the night, followed by John and Michael and Wendy. Mr & Mrs Darling and Nana rushed into the nursery too late. The birds were flown." II. The Windows that Closed The central section of the work takes its inspiration from the sense of longing throughout the book, mainly by Peter Pan, the Darling Children & The Lost Boys. Distant memories of life before Neverland, memories of the Lost Boys' mothers, and regret at what the children have missed. Peter says "Long ago, I thought like you that my mother would always keep the window open for me; so I stayed away for moons and moons and moons, and then flew back; but the window was barred, for mother had forgotten all about me, and there was another little boy sleeping in my bed." III. Aboard the Pirate Ship The final section of the work takes its inspiration from the Pirate Ship, and Peter Pan's ultimate battle with its infamous Captain Hook. "In person, he was cadaverous and blackavized, and his hair was dressed in long curls, which at a distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly."
Estimated dispatch 10-14 working days
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£40.00Losgaintir. For solo Baritone/Euphonium and brass band
Recommended - Championship to 2nd Section Written for Katrina Marzella and the Black Dyke band, Losgaintir (or Luskentyre in English) is one of my favourite places in Scotland. Losgaintir is on the west coast of the isle of Harris in the Outer Hebrides and has an outstanding beach widely regarded as one of the most beautiful in the world. Losgaintir is a wonderful place to be on warm sunny days with its long stretch of white sands, aqua marine seas, the incredible mountain backdrop of south Lewis and the uninhabited island of Taransaigh in view. The weather in Harris is notorious for changing very quickly and this piece tries to reflect this. Although idyllic on a calm, sunny days, on stormy days Losgaintir's character becomes dark and foreboding, with low dark clouds and sweeping winds from the Atlantic creating a dark, brooding atmosphere. The opening melody (written modally like a traditional Scottish Gaelic air) depicts the calm serenity of Losgaintir on a beautiful summer's day. The character of the fast section that follows portrays winter in Losgaintir during a tempestuous storm with bracing winds. Includes score & parts Also see: Losgaintir for Solo Baritone/Euphonium & Piano
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£73.00
Garde du Corps (Bra) - Robert Browne Hall - Neville Buxton
One of the most famous marches by American composer Robert Browne Hall, the 'March King of Maine'. Besides composing he also was a cornet virtuoso and a bandmaster. One of his compositions was played during the funeral procession held for President John F. Kennedy in 1963.
Estimated dispatch 7-14 working days
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£105.00
Handel in the Band - Kenneth Downie
Handel in the Band is a virtuoso set of symphonic variations on one of Handel's best known keyboard dances, the Sarabande from his Suite in D minor, HWV 437, based on the Spanish traditional dance La Folia. Kenneth Downie's work was commissioned by Brass Band Treize Etoiles, for performance at the 2013 Swiss National Brass Band Championships, where it was conducted by James Gourlay. The title is a reference to Percy Grainger's popular Handel in the Strand, and is indicative of the witty and theatrical nature of the music, which is more playful than conventional competition pieces and as such offers different challenges to brass bands as well as being thoroughly entertaining for audiences. Kenneth Downie is one of the most respected and experienced brass band composers. His music has been widely performed and published throughout the brass band world since the 1960s. Handel in the Band has been selected as the set work for the Championship Section final of this year's National Brass Band Championships of Great Britain, which takes place at the Royal Albert Hall, London, on 6th October 2018.
In Stock: Estimated dispatch 1-3 working days
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