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£60.99Love Is All Around - Reg Presley - Georges Moreau
One of the biggest hits of WetWetWet has been arranged in an excellent way by George Moreau. 'Love is all around' will certainly please the young audience.
Estimated dispatch 5-14 working days
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£55.00Christmas Overture - Nigel Hess - Phillip Littlemore
Nigel Hess' vivacious and colourful A Christmas Overture, originally commissioned as an orchestral work by John Rutter for his 2007 Christmas Festival, proved an instant success with audience and orchestra alike. Traditional carols, skilfully juxtaposed and interwoven, provide the thematic material. These include Ding Dong! Merrily On High; Il Est N Le Divin Enfant; Infant Holy, Infant Lowly; Personent Hodie; We Wish You A Merry Christmas and Angels From The Realms Of Glory, which brings the overture to a majestic close. Fragments of other carols appear along the way to enrich the texture of what is surely one of the mostattractive pieces written for the festive season. Brass Band Grade 4/5. Duration: 7 minutes, 30 seconds
Estimated dispatch 5-14 working days
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£149.99A Tribute to Henk Badings - Rob Goorhuis
The motivation for composing this test piece for the Concert Division Brassband of the 2001 WMC was Rob Goorhuis's deep respect for one of the greatest Dutch composers of the 20-th century who also enlarged the wind band repertoire in a most valuable way. Goorhuis wanted to light up the "soft and kind" side of the brassband and wrote about this composition : "The basis is a theme of twelve tones wich Badings once played at an International Organ Improvisation Contest in Haarlem.My organ teacher participated in that contest and so the theme remained somehow in the back of my mind." The composer worked out a series of variations and clustered them into bundles ofthree and so the melody kept its diversity while remaining easy to recognise.
Estimated dispatch 5-14 working days
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£115.60Run Away - Hans Offerdal
This piece is about running away. First there is restlessness, then the escape begins. But what are we running away from? That is for you to find out!Playing time: appx. 4:30 To the conductor:There are challenges in the use of dynamics and rhythm. It is important that energy and pace is upheld all the way up until the next to last page. Dissonances are present several places, but the voice leading is diatonic within the given scale.The whole piece is based on one single scale: F melodic minor with lowered second degree. It is notated as a concert F major scale with two accidentals. Feel free to use it during warm-ups!
Estimated dispatch 5-14 working days
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£89.99Broken Sword - Kevin Houben
The Broken Sword is one of the five ceremonial swords kept in the Tower of London and is used during the coronation of a new king or queen. Legend has it that an angel broke off the tip of the sword in an effort to prevent an unjust killing. Composer Kevin Houben lets his music retell this intriguing legend. Broken Sword resembles a film score in many ways and will paint vivid images as the band plays its way through the legend. Many different moods create a contrast-rich work that makes for an exciting listening and playing experience every time!
Estimated dispatch 5-14 working days
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£72.99Christmas Troika - James Curnow
Troika is a Russian word that means a group of three but it also means a light Russian sleigh pulled by three horses.Christmas Troika portrays the joy of Christmas via a musical sleigh-ride. One can almost see the frost on the treesand hear the wind blow and the sleigh-bells ring as the tune O Come, All Ye Faithful winds its way through the music.
Estimated dispatch 5-14 working days
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£69.99
Ol' Man River - Jerome Kern - Mark Freeh
This scintillating arrangement by the American Mark Freeh of the Jerome Kern and Oscar Hammerstein classic, Showboat, is a classic in the brass band repertoire. This 'up tempo' big band arrangement is a perfect opener or closer to any programme and is also a fantastic way to showcase your drummer. Definitely one not to be missed!
Estimated dispatch 5-14 working days
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£102.99Introduction & Punk - Torstein Aagaard-Nilsen
Torstein Aagaard-Nilsen's (1964) way of composing can be described as: uncompromising, wilful and contemporary. It is not surprising, therefore, that this occasionally causes a stir. In the middle of the Seventies a trend arose in youth culture, which was characterized by provocation, distrust of the great ideologies, and the autonomy of the individual. Punk is playful, aggressive, often humorous, and anti-everything, which inevitably leads to self-irony. The first part of Aagaard-Nielsen's composition (Introduction) is a texture based mainly on one short theme. This pompous theme breathes a spirit of cold empty plains, where icy winds sigh around yourhead. In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies. De wijze van componeren van Torstein Aagaard-Nilsen (1964) laat zich omschrijven als: compromisloos, eigenzinnig en eigentijds. Niet verwonderlijk dat dit af en toe wat stof doet opwaaien. Midden zeventiger jaren ontstaat er een stroming binnen de jongerencultuur, die provocatie, wantrouwen tegen de grote ideologieen en de autonomie van het individu centraal stelt. Punk is speels, agressief, veelal humoristisch en anti-alles, wat onvermijdelijk leidt tot zelfspot. Het eerste deel (Introduction) is een weefsel, gebaseerd op voornamelijk een kort thema. Het pompeuze thema ademt de sfeer van kille lege vlakten, waar de ijzige wind je om de oren suist. Tijdens de 'heftige' Punk (Presto barbaro!) is van een thema geen sprake meer. De basis voor dit deel is een steeds herhalend motief (dalende kleine terts). Dit motief wordt afgewisseld met zeer krachtige percussie slagen en later schrille samenklanken. Dit alles zorgt voor een bombastisch geheel. Aan het slot van de Punk horen we het intoductie-thema tussen het punkgeweld door terugkomen.
Estimated dispatch 5-14 working days
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£104.99Scottish Dances - Peter Martin - Menno Haantjes
Scottish Dances is based on three Scottish traditionals: Cock of the North, The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous, it seems, delicious liqueur, and rallies to snowboard competitions. Furthermore is "Cock O' the North " a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune, regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary, had a canary, Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. " The Bonnie Bank's O'Loch Lomond " is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed, while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion, who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding, after the official ceremonies, there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as "Marie's Wedding '. Mid dance we go back to the church, where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely, on we go, heel for heel and toe for toe Arm and arm and on we go, all for Marie's wedding
Estimated dispatch 5-14 working days
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£95.00Variations on a Theme of Michael Tippett (Brass Band - Score and Parts) - Hindmarsh, Paul
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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