Results
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£35.00Ascension - Lucy Pankhurst
A major work written for the RNCM Brass Festival Competition 2005, and inspired by the nature of Ascension - creating a Musical depiction of the spiritual journey towards enlightenment, sanctuary and ultimate inner peace.As aninitial muse for this work, the 'Tibetan Singing Bowl' is utilised with the Brass Band in order to represent this path to Serenity, together withBaoding Balls(Chinese Health Balls) to mark the point of Final Ascension.Programme notes from the composer, Lucy Pankhurst:Ascension is a Musical depiction of the Spiritual Journey towards enlightenment, sanctuary and ultimate inner peace.As my initial muse for this work, the Singing Bowl is utilised with the Brass Band in order to represent this path to Serenity. "Tibetan" Singing Bowls date back to the 8th Century A.D., originating in the pre-Buddhist shamanic Bon Po culture in the Himalayas and are still used in modern Monasteries. The original purpose of them still remains a mystery, with accounts stating that it is forbidden to disclose the true function of the Bowls, as the "secrets of sound" yield so much Power, that they must be kept hidden.Listening to the tones created by the Singing Bowl effectively silences the internal dialogue of the listener, making it an excellent tool for Meditation, Centering and entering trance-like states. In Buddhism, as with many cultures, sound is an important part of Spiritual Practice. There are 9 methods to reach Enlightenment in the Buddhist Doctrine ; the seventh is SOUND.These Bowls are used by Healers in a similar way to help balance the body's residual energies. The Bowls are usually made from seven different sacred metals, intended to correlate directly to the seven sacred "Planets" : GOLD (Sun), SILVER (Moon), MERCURY (Mercury), COPPER (Venus), IRON (Mars), TIN (Jupiter), ANTIMONY (Saturn). Any one Bowl can create up to seven different frequencies (tones) simultaneously. In Healing, the Singing Bowl is played whilst balanced on the palm of the hand, struck three times to stabilise the surrounding energies, before rotating the wooden "beater" around the outer circumference of the Bowl to create the "singing" effect.I have included an optional Vibraphone part (to be played with a Double Bass Bow) with Tubular Bells, to be used only in performances where a Singing Bowl cannot be acquired. However, a traditional Bowl should be used whenever possible, to create this specific and unique sound.Baoding Balls or Chinese Health Balls are also utilised in this work. Their appearance in the Music here, however, is to mark the point of Final Ascension, where the music reaches its ultimate goal. These delicate cloisonne iron Balls are said to stimulate the acupressure points on the hand, thus improving the Chi and Energy Paths (Life Force) throughout the entire body. The delicate "tinkle" produced by these spheres is hypnotic and captivating. For this reason, where no Baoding Balls are obtainable for performance, only delicate metallic percussion should be used in replacement (i.e. Crotales, Antique Cymbals or (liberal) single strikes on a Triangle etc.). Bell Trees, Wind Chimes and Cow Bells should not be used.As in many cultures, the number three is important in Ascension, as it represents not only the purification from the Singing Bowl, but also it is a number of confirmation, reiterated throughout the music in the metallic percussion in addition to the Brass, re-affirming the correct path to Enlightenment.
In Stock: Estimated dispatch 3-5 working days
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£30.00Here and There - Martyn Brabbins
An original composition for brass band by Martyn Brabbins.This work was created by Brabbins early in his career and combines his creativity and passion for the sounds of brass bands . It is one of two compositions from that era (the other being There and Back) which have now been given a new lease of life and made available to the general public through The Music Company (UK) Ltd.With great chords, sounds and unexpected bursts of energy, the work lasts just 1 48, making it ideal to be positioned as an attention grabbing opener or a contrasting interlude to greatly enhance the interest of a concert.The brass band version was originally premiered by The Dalmellington Band at The Cumnock Tryst 2017, and the Symphonic Wind Orchestra adaptation was performed by The BBC Scottish Symphony Orchestra in 2019.Available here for brass band. Also available for Symphonic Wind Orchestra.**Brass Band version for purchase/Symphonic Wind Orchestra version for hire only.Listen InFind out more about Martyn Brabbins, listen in to the fascinating podcast presented as part of the British Bandsman's On The Record series:Apple podcasts:apple.co/3ufSsfXSpotify:spoti.fi/3duqoj5Podbean:bit.ly/3k3B75h
In Stock: Estimated dispatch 3-5 working days
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£30.00Russian Rag - George L Cobb, Sandy Coffin
Interpolating the world famous"Prelude" by RachmaninoffCommissioned by John Wallace, this arrangement of Russian Rag has been crafted by Sandy Coffin through close listening of the available recordings of the Harlem Hellfighters Band. Sandy had been heavily involved with the Historic Brass Society symposium 2017 held in New York and assisted John with his research on this fascinating band and the style of music it generated.Eye-witness accounts refer to the 369th band 'dancing' rather than 'marching'. Above all, in modern performance, finding a 'dancing beat' is crucial to a successful performance of this Ragtime march in order to do justice to the great pioneering work of James Reese Europe. Note the cheeky virtuosity and rubato!Look and Listen (courtesy of Tullis Russell Mills Band):Background to the Harlem HellfightersThe US Army 369th Regiment, made up largely of African-Americans from New York, became known as the Harlem Hellfighters because of the heroic reputation which accrued to them during the actions they engaged in during the First World War in Europe.James Reese Europe was one of the most active African-American composer/musical directors in the pre-war American music scene. The legendary Harlem Hellfighters Band, which he assembled in 1917 from African-American and Puerto Rican musicians, came at an important transitional point in musical history. A new form of music called jazz was emerging from Ragtime and the performing style of Europe's band was immersed in the flow of this new direction.Europe's Harlem Hellfighters influenced and inspired everyone who heard them, including the welcoming crowd when they disembarked in France, bowled over by their swinging rendition of La Marseillaise. Reese Europe became a war hero, commanding a machine-gun unit as well as the band.On return from War in 1919 the band led a ticker-tape parade along Fifth Avenue in New York and soon made about 30 shellac recordings. These recordings display some of the fingerprints of their performing style: ragging, improvising, muting, wailing, smearing (their word for glissando) - and from the evidence of their recordings they took the printed page as a blueprint for individuality.In May 1919 during the Hellfighters' triumphant coast-to-coast tour after their return, James Reese Europe was tragically murdered, bringing to premature close, at the age of 39, the work of a great musical innovator.
In Stock: Estimated dispatch 3-5 working days
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£25.00Zephyrus - Andrew Duncan
The Big Blow', was a formal record attempt to create the largest brass band in the world. It took place at Butlin's Resort, Skegness on 20 January 27 and in addition to the fun generated by the event itself, it's main goal was to raise money in support of the work of Brass Band Aid, and specifically to provide long-term sponsorship for two children in the village of Adet, Ethiopia.The Music Company (UK) Ltd were one of the Official Partners of The Big Blow, providing the performance piece for the record attempt. As Editorial Director of the company, Andrew Duncan wrote 'Zephyrus' to mark the occasion.Originally presented at the event as 'March - The Big Blow', the published re-titling of 'Zephyrus' provides a more subtle alternative, taking its name from the Greek God of the West Winds.'Zephyrus' is a traditional British brass band march with an interesting African-feel lilt to the trio. This is enhanced by optional percussion instruments including djembi and bongos, which can also be covered by standard drum kit. A positive, upbeat concert march to reflect the sentiment behind 'The Big Blow' record attempt.There were 443 participants in total, including:Soprano Cornets x 12Cornets x 152Flugels x 19Tenor Horns x 68Baritones x 32Euphoniums x 32Trombones x 55Eb Basses x 35Bb Basses x 17Percussionists x 21The Music Company are pleased to continue their support of Brass Band Aid by offering a donation to this worthy charity for every set of this music sold.
In Stock: Estimated dispatch 3-5 working days
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Anyone Who Had A Heart - Burt Bacharach and Hal David - Len Jenkins
"Anyone Who Had A Heart" is a song written by Burt Bacharach (music) and Hal David (lyrics) originally for Dionne Warwick in 1963. However, in the UK, Ireland and New Zealand, the cover version by Cilla Black was, and is still, the best loved. Championed by her friends The Beatles, she began her career as a singer in 1963, and her singles "Anyone Who Had A Heart" and "You're My World" both reached number one in the UK in 1964. From the first line, the song has a certain frisson: "Anyone who ever loved, could look at me, and know that I love you." Sadly, Cilla passed away on 1 August 2015 so this is our tribute to a well-loved lady and singer. Our objective has been to interpret the style of the original performance by Cilla, and whilst the time signatures may not be familiar, experience has shown that these are easier to read and play than the alternative using triplets.
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£49.95Bestowal of a Century (Tenor Horn Solo)
Tenor Horn Solo with Brass BandBestowal of a Century (2014) was commissioned by Lowenna Taylor, and funded through her Harry Mortimer Trust award which she was presented with at the 2013 British Open Championship following the completion of her studies at the Royal Welsh College of Music in Cardiff. The 15-minute work received its world premiere at the Cornwall Youth Brass Band Christmas concert in 2014 with solosit, Lowenna, working alongside the band under the baton of Les Neish.The Bestowal refers to the presentation of the Royal Trophy by the then Prince of Wales to the famous West of England Bandsman's Festival in Bugle in 1913. Over the years it has been won by some of the greatest names in brass banding, including Black Dyke and Munn & Feltons - although more recently it has become a wonderful open festival that includes sections for local bands as well as visitors from all over the banding globe. 2014 marked the one-hundredth anniversary of the presentation of the trophy, which is the only brass band trophy to have the official seal of royal patronage.The work, in three distinct sections, opens in a mysterious way, building progressively with interjections from the horn. The composer notes its as though one can imagine different part of the trophy being put together, piece by piece, until the trophy is complete and a climax is reached. Following this, a playful theme is presented which is developed throughout the first section and interacting between soloist and band.The second movement, in complete contrast, is a lyrical melody; heart-wrenching throughout, and sits well both as part of the concerto and also as a stand-alone solo item. The third movement is light-hearted and virtuosic, demonstrating the technical capabilities of the instrument with fast and virtuosic playing, and a cadenza towards the end of the work.
Estimated dispatch 7-14 working days
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£29.95
The Land of the Long White Cloud (Score Only)
Dating from 1979, The Land of the Long White Cloud (Aotearoa) was Philip Sparke's first test-piece. It was commissioned by the New Zealand Brass Band Association for their 1980 National Championships (their centenary year) and set for the European Brass Band Championships, the same year, at the Royal Albert Hall in London. Aotearoa was the name given to New Zealand by its Polynesian settlers whose first sight of the islands was a long, flat cloud lying low over the land. The work has no specific programme although many have seen pictures of the surging ocean in the opening bars. A faster dance-like section leads to a slow, haunting solo for soprano cornet; this is taken up by the whole band before earlier material returns. The dance-like tune is, this time, given a fugal treatment and the opening bars return to close the work.Philip Sparke was born in London and studied composition, trumpet and piano at the Royal College of Music, where he gained an ARCM. It was at the College that his interest in bands arose. He played in the College wind orchestra and also formed a brass band among the students, writing several works for both ensembles.At that time, his first published works appeared - Concert Prelude (brass band) and Gaudium (wind band). A growing interest in his music led to several commissions, his first major one being this featured piece for the Centennial Brass Band Championships in New Zealand - The Land of the Long White Cloud. He has written for brass band championships in New Zealand, Switzerland, Holland, Australia and the UK, including three times for the National Finals at the Royal Albert Hall.In September 2000, he was awarded the Iles Medal of the Worshipful Company of Musicians for his services to brass bands and in 2005 Music of the Spheres won the National Band Association/William D. Revelli Memorial Band Composition Contest. In 2011, he received the BUMA International Brass Award for his contribution to brass music.His conducting and adjudicating activities have taken him to most European countries, Scandinavia, Australia, New Zealand, Japan, Taiwan, South Korea, Canada and the USA. In May 2000, he took the major step of becoming a full-time composer by founding his own publishing company, Anglo Music Press. The company is devoted to publishing his brass band, concert band, fanfare band and instrumental publications as well as recordings dedicated to his latest works.
Estimated dispatch 7-14 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 5-10 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 5-10 working days
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£44.95
FINALE FROM SYMPHONY No.4, Excerpts from (Brass Band Set) - Tchaikovsky - William Gordon
Peter Ilyich Tchaikovsky wrote his fourth symphony in 1877 and 1878. It was first performed in the latter year conducted by Nikolai Rubenstein. Despite initial critical reaction, the symphony has become a staple of the orchestral repertoire and is one of the most frequently performed late 19th century symphonies. In the exciting finale, Tchaikovsky incorporates a famous Russian folk song, 'In the field stood a birch tree' as one of its themes.
Estimated dispatch 7-14 working days