Results
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£89.95Of Distant Memories (Music in an Olden Style) (Brass Band - Score and Parts) - Gregson, Edward
Of Distant Memories pays homage to the brass band composers that form the backbone of the brass band repertoire and their music, and in the process summons up a kind of subconscious memory bank of the musical languages, styles and forms used by them. The music is conceived in the form of a 'traditional' tone poem, reflecting certain aspects (e.g. melodic, harmonic, textural) of those early test pieces. Although fairly traditional concepts have been kept in planning the architecture of the work, certain aspects of the instrumentation, or scoring, are more contemporary in colouristic terms, as befits a composer writing in the 21st century. However, the percussion requirements are fairly modest, similar to those used in the works of that period. The brass band tradition owes much to the composers of that period, for through their music they established a truly homogenous 'British' brass band sound which has spread throughout many parts of the world. That tradition flourishes today and remains important for today's composers, even if their musical language is far removed from that of their predecessors. Of Distant Memories is the composers own way of repaying that gratitude.Duration: 15.00
Estimated dispatch 7-14 working days
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£44.95Of Distant Memories (Music in an Olden Style) (Brass Band - Score only) - Gregson, Edward
Of Distant Memories pays homage to the brass band composers that form the backbone of the brass band repertoire, and their music, and in the process summons up a kind of subconscious memory bank of the musical languages, styles and forms used by them. The music is conceived in the form of a 'traditional' tone poem, reflecting certain aspects (e.g. melodic, harmonic, textural) of those early test pieces. Although fairly traditional concepts have been kept in planning the architecture of the work, certain aspects of the instrumentation, or scoring, are more contemporary in colouristic terms, as befits a composer writing in the 21st century. However, the percussion requirements are fairly modest, similar to those used in the works of that period. The brass band tradition owes much to the composers of that period, for through their music they established a truly homogenous 'British' brass band sound which has spread throughout many parts of the world. That tradition flourishes today and remains important for today's composers, even if their musical language is far removed from that of their predecessors. Of Distant Memories is the composers own way of repaying that gratitude.Duration: 15.00
Estimated dispatch 7-14 working days
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£80.00The Unfortunate Traveller (Brass Band - Score and Parts) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£40.00
The Unfortunate Traveller (Brass Band - Score only) - Holst, Imogen - Hindmarsh, Paul
Imogen Holst (1907-1984) submitted The Unfortunate Traveller (1929) as her final work as a student portfolio at the Royal College of Music, where her composition teacher was Gordon Jacob. The title was taken from Thomas Nashe's famous 1594 picaresque novel of the same title. The Suite was first performed on 12 February 1933 at her Majesty's Theatre, Carlisle, by the St. Stephen's Band, with the composer conducting. Te concert was given in memory of Holst's uncle, Dr. H.A. Lediard. Holst had been impressed with the band's performance of his A Moorside Suite at the 1928 National Brass Band Championships (The Crystal Palace, South London) and was keen to work with them. Writing in Imogen Holst, a life in music, Christopher Grogan indicates that it was Gustav Holst's suggestion to include his daughter's work in the programme, quoting Imogen Holst's remarks made in interview to The Daily Mail as follows: "....it is the first time, so far as I know, that a woman has conducted a brass band at a public concert....It has been a delight to rehearse the St. Stephen's Band. It was their performance at the Crystal Palace Festival that inspired me to write this Suite, which I have dedicated to them."Imogen Holst accompanied her father to the Crystal Palace in 1928 to hear the performances of A Moorside Suite, and was so excited by the played and, audibly, by her father's music that she decided to write a brass band piece for her final examination. Te result was The Unfortunate Traveller (1929). However, it was not possible for her to present a brass band work for examination. She arranged it for string orchestra so that it could be played before she left the RCM in July 1930. Following the premiere of the original in 1933, the manuscripts did not resurface until 1969 Imogen found them among her late mother's effects. Although she requested score and parts be destroyed, they ended up in the possession of Manchester composer John Golland, who marked up the score presumably with the intention of creating a new performing edition. The original scoring reveals a lack of experience with what can be a tricky medium.With the agreement of the Holst Foundation, a revised edition, with additional percussion, was prepared in 2011 since when the work has been fortunate to travel round the world as a concert and contest piece. The original includes drums in the March only. The title was taken from Tomas Nashe's famous 1594 picaresque novel of the same title. Several Morris Dance tunes are introduced during the course of the four short movements, including Bonnie Green Garters, Shepherd's Hey, The Rose and The Wind Blaws Cauld. Quirky twists and turns of harmony and spirited rhythms that remind us how much Imogen Holst loved tradition English dance music.In September 2025, I made a performing edition of the composer's arrangement for string orchestra. The manuscript lacks the final movement, which I arranged in a similar style, ie. without extending the upper ranges. Making this edition raised some issues regarding the accuracy of my band version and some of the solutions I used to smooth out the voicing. I have used the composer's second thoughts to refine my performing edition and to correct a textual errors.- Paul HindmarshDuration: 10.00
Estimated dispatch 7-14 working days
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£60.99Centennial Prelude (Brass Band - Score and Parts) - Van der Roost, Jan
This short opening music was composed on commission of the symphonic band of Jan Van der Roost's village (= Kontich near Antwerp / Belgium). In 1991, this community band celebrated its 100th anniversary. After composing commissioned pieces from different countries (even from Japan), this was the most 'near' commission he ever received indeed! It is a short but varied piece, featuring all sections of the band. After a short introduction, played by the brass instruments, a crisp rhythm starts and boxes the main theme. After a second theme, played by brass and percussion, a short melodical passage brings some 'rest'. At the end, the fanfare of the introduction reoccurs. Although this "Centennial Prelude" isn't a really demanding piece, it sounds colourful and energetic. It has been recorded on CD by the band of the 'Royal Dutch Airforce' and the 'Desford Colliery Brass band'.Duration: 3:30
Estimated dispatch 7-14 working days
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£82.95EUPHONIUM CONCERTO No.1 (Sparke) (Brass Band - Score and Parts) - Sparke, Philip
This concerto has its origins in a concerto for horn and brass band, commissioned by the River City Brass Band (Pittsburgh) in 1992.It was composed at the request of British euphonium virtuoso, Steven Mead, and first performed by him with the Breeze Brass Band in Osaka, Japan, in 1995.In conventional three-movement form, performed without a break, the concerto covers the panoply of the euphonium's range and character. The first movement is marked Moderato e energico and is rhythmically energetic in style with many meter changes and much syncopation. Only in the central section does the soloist relax in cantabile mood.The second movement opens with tuned percussion taking centre stage, laying for the foundations for a long cantilena from the soloist in resigned mood, but with a touch of optimism. After a central climax for the band, this melody returns, with soloists from the band answering in counterpoint. The finale is a 6/8 romp in caccia style (betraying its origins as a piece for horn). Again, the central section is more legato in mood, though the band keeps the eighth-note figures present throughout. The movement ends in a bravura display from the soloist.
Estimated dispatch 7-14 working days
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£44.95
EUPHONIUM CONCERTO No.1 (Sparke) (Brass Band - Score only) - Sparke, Philip
This concerto has its origins in a concerto for horn and brass band, commissioned by the River City Brass Band (Pittsburgh) in 1992.It was composed at the request of British euphonium virtuoso, Steven Mead, and first performed by him with the Breeze Brass Band in Osaka, Japan, in 1995.In conventional three-movement form, performed without a break, the concerto covers the panoply of the euphonium's range and character. The first movement is marked Moderato e energico and is rhythmically energetic in style with many meter changes and much syncopation. Only in the central section does the soloist relax in cantabile mood.The second movement opens with tuned percussion taking centre stage, laying for the foundations for a long cantilena from the soloist in resigned mood, but with a touch of optimism. After a central climax for the band, this melody returns, with soloists from the band answering in counterpoint. The finale is a 6/8 romp in caccia style (betraying its origins as a piece for horn). Again, the central section is more legato in mood, though the band keeps the eighth-note figures present throughout. The movement ends in a bravura display from the soloist.
Estimated dispatch 7-14 working days
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£33.67King Lily of the Valley (Euphonium & Baritone Feature w/Brass Band) Espen Haukas
Based on a poem by Gustaf Froding, King Lily of the Valley is a poetic and regal musical tribute to the delicate flower that, in Froding's verse, appears as a young king surrounded by both sorrow and beauty. Originally composed by David Wikander and arranged for male choir (TTBB) by Rasmus Krigstrom, this evocative work has been masterfully reimagined for brass band by Norwegian arranger and composer Espen Wallacher Haukas and created for Bjorsvik Brass's performance at Siddis Brass 2025. The brass band version retains the choral character and emotional depth of the original, weaving lush harmonies and lyrical phrasing into a rich soundscape. A deeply expressive addition to any brass band repertoire - blending Nordic choral tradition with the grandeur and warmth of the brass band sound. Scoring: Standard brass band instrumentation.(Note: Solo Cornets are marked TACET, providing a welcome opportunity for rest in longer programmes.) To view a rolling score video of the work please visit https://www.youtube.com/watch?v=AK5YPW4t3Oo Duration: Approx. 3.30 minutes Difficulty Level: 3rd Section + This PDF download includes the full score and parts. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: 1st Baritone Bb 1st Euphonium Bb 2nd Baritone Bb 2nd Euphonium Bb Soprano Cornet Eb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Bass Eb Bass Bb Timpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£33.67Both Sides, Now (Brass Band) Joni Mitchell arr. Andrew Wainwright
Joni Mitchell's Both Sides, Now is a timeless reflection on the shifting landscapes of life, love, and self-understanding. First released in 1969, this iconic song has become a signature of Mitchell's extraordinary songwriting, capturing the delicate interplay between youthful innocence and hard-earned wisdom. With its poignant lyrics and haunting melody, Both Sides, Now continues to resonate across generations. This evocative brass band arrangement by Andrew Wainwright was commissioned by the Fountain City Brass Band for its 2023 tour of England, including a performance at the prestigious Brass in Concert Championships. Featuring prominent solos for baritone and flugel horn, the arrangement makes full use of their lyrical warmth and tonal richness. BrookWright is delighted to be able to now make this arrangement available to brass bands. To view an excerpt of Fountain City Brass Band performing the work please visit www.youtube.com/watch?v=OYaoF_b9wHo Duration: approx. 3.30 minutes Difficulty Level: 4th Section + This PDF download includes parts and score. 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 1-3
In Stock: Estimated dispatch 1-3 working days
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£74.83Gothique Fantasy - On a theme by Boellmann (Brass Band) Andrew Wainwright
This magnificent work was commissioned by The Illinois Brass Band for the 2024 North American Brass Band Championships. Based on Leon Boellmann's epic organ work Suite Gothique, the 3rd movement of which is entitled Priere a Notre-Dame (A Prayer for Notre Dame), it pays tribute to the nearly 700-year-old Notre-Dame de Paris after the fire which did so much damage to this iconic building. Notre-Dame stands out for its three pipe organs (one historic) and its immense church bells, which are referenced at various times in Gothique Fantasy. Two of the other movements from Boellmann's work also provide inspiration for the piece, firstly the Introduction - Choral, and the famous Toccata, snippets of which appear at various times in the piece. Gothique Fantasy opens with the Choral, a solo offstage cornet sounding the opening statement. A quintet, stood to the side of the stage, takes up the Choral, while the rest of the band enters on held muted notes, creating a sustained effect evoking the harmonies spreading across the vast cathedral. Colossal organ-like sounds announce themselves as the full band takes on the theme. A lively Animato follows. Here there are continued references to the Choral, while the famous Toccata motif starts to appear. A Misterioso section ensues, which leads into a poignant Prayer for Notre Dame featuring a euphonium duet, where the music reflects upon the devasting fire and centuries of history and artefacts that were lost. A lone euphonium the sounds, representing the remaining remnants of the cathedral. A chaotic and rhythmic Presto, based on the Toccata, then follows and tests the technique of the band from top to bottom, whilst moving through various time signatures, the pulse lacking any sense of stability. A return to the Choral theme leads into a further reflective section, this time featuring the secondary theme from the Toccata with a flugel and solo horn duet. Next the music arrives at an aleatory section (Senza Misura), which depicts the remnants of the fire, followed by the grand cathedral emerging out of the ashes. Various motifs from earlier in the piece are heard across the band. At this point, various parts enter at different times on the conductor's signal, before building towards a 6/8 Presto. Here the music gathers momentum as it leads to a Grandioso finale featuring the Choral in all its glory. However, to conclude the work, the final strains of the Toccata sound, bringing the work to a glorious conclusion as Notre-Dame rises again! To view a video of The Illinois Brass Band performing the work please visit www.youtube.com/watch?v=xG3JB6Ye5aU Duration: 15.00 minutes approx. Difficulty Level: Championship Section This 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 Bb Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
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