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  • £34.95

    Diversions after Henry Purcell - Jonathan Bates

    Composed for Robert Childs and the Foden's Band, this work sets out, in sentiment, to imitate Benjamin Britten's, The Young Person's Guide to the Orchestra. The music takes inspiration from the life and works of Henry Purcell - a composer synonymous with brass through his compositions for the court. It features every section of the brass band in a variety of styles, in anticipation of a triumphant Fugue.I - Pride & Prejudice: In much the same way as Britten's ‘Young Person's Guide' the work begins with Purcell's famous Rondeau, music used in several period screen settings, including the adaptation of Jane Austen's beloved novel, Pride & Prejudice.II - Devil's Acre refers to Purcell's birthplace, Westminster and showcases devilish technique from the cornet section.III - The Royal Organist features the horn section, and whilst the music takes its inspiration from Purcell's Te Deum, its title comes from a painting at Westminster Abbey, where Purcell himself was organist for many years.IV - "Full Fathom Five" features the virtuosity and range of the euphonium and baritone section and takes its title from music Purcell wrote for Shakespeare's play, The Tempest. It is a catchphrase deriving from a verse passage, beginning with those words, during a storm and shipwreck, where the water is about 30 feet (five fathoms) deep.V - Remember Me is the subtitle of Dido's Lament from Dido and Aeneas - Purcell's first opera. Here the trombones and basses remember Purcell, who passed away at the young age of 36.VI - That Blessed Place is reflective and takes its title from Purcell's epitaph at Westminster, which reads: "Here lies Henry Purcell Esq., who left this life and is gone to that Blessed Place where only His harmony can be exceeded."VII - Celebration takes the form of a Fugue and eventually brings the music to a close in much the same way as it started, with a grand reprise of Purcell's famous Rondeau.

    Estimated delivery 3-5 days
  • £55.00

    Purcell Variations - Kenneth Downie

    Purcell Variations, composed in 1995, the year of the tercentenary of the death of the great English composer, was a watershed work in that it was Downie's first extended composition to be published independently of The Salvation Army and intended for wider use. For his theme, Downie has chosen what has come down to us as the hymn tune Westminster Abbey, which is in fact an adaptation made in 1842 by Ernest Hawkins, who was a Canon of Westminster Abbey where Purcell himself had been organist. Purcell’s original is actually the closing section of an anthem, O God, Thou art my God, where it provides the final paean of praise, sung to repeated ‘Hallelujahs’. Purcell’s tune, particularly the opening triadic gesture, is used as a source of thematic and harmonic material – a quarry for ideas if you like: “I was obsessed with the intervals of thirds in Purcell’s tune, rather like Brahms in his Third Symphony”, the composer says.There are five variations, preceded by an extended introduction and theme. In the first variation, Purcell’s lilting dance pulse has been transformed into a bright, playful sequence, in which each phrase of the melody is given its own transformation. In the second, Purcell’s opening gambit is extended into a graceful, flowing waltz, featuring solo and first horn at the top of the register. The composer offers a range of metronome speeds in this movement, in which he is emulating the wistful elegance of Erik Satie’s famous Gymnopedie. We enter the world of big band jazz in variation three, where Purcell’s tune strides along with added syncopation and bluesy major/minor thirds to the fore. After the breathless energy and blazing brass of the big band, Downie moves into his ‘home territory’ for a beautifully worked lyrical variation. There is an enhanced urgency about the final variation, which opens with an extended reprise of the work’s introduction. Purcell’s second and third phrases provide the preparation for the exuberant return, in customary triumph of Purcell’s ‘Hallelujah’.

    Estimated delivery 12-14 days
  • £49.95

    Purcell Variants - Peter Meechan

    Purcell Variants was composed for the Black Dyke Band, and is dedicated to their musical director, Nicholas Childs. It was first performed by the Black Dyke Band on 4th September 2004 at the Bridgewater Hall, Manchester.The work is based on Purcell's Queen Mary's Funeral Music, and is divided into three contrasting movements; I - Introduction; II - Elegy; III - Finale.

    Estimated delivery 3-5 days
  • £59.95

    RHAPSODY ON A THEME BY PURCELL (Brass Band Set) - Kevin Norbury

    The theme is the rondo refrain from 'Abdelazer' famously used by Benjamin Britten in his 'The Young Person's Guide to the Orchestra'. The composer, while keeping a spirit of fun, pays subtle tribute to both Purcell and Britten in this set of linked variations.

    Estimated delivery 12-14 days
  • £34.95

    Purcell Suite - Henry Purcell

    Includes: Rondeau; Slow Air; March; Minuet; Hornpipe.

    Estimated delivery 12-14 days
  • £45.95

    Fantasia: Three Parts on a Ground (Score and Parts) - Henry Purcell arr. Philip WIlby

    Composed by Henry Purcell for three solo instruments (violins or recorders) over a repeating bass line around the year 1680 this work shows English Contrapuntal skill at its most exhuberant. This free transcription for brass band stands alongside Philip Wilby's 1995 composition Revelation which uses it as a basis in tribute to Purcell's tercentenary.

    Estimated delivery 7-10 days
  • £25.00

    RONDEAU - Purcell/M.Hopkinson

    Estimated delivery 5-7 days
  • £59.95
  • £49.95

    Purcell Variants - Peter Meechan

    Estimated delivery 12-14 days
  • £69.95

    Revelation - Score and Parts - Philip Wilby

    Symphony for Double Brass on a theme of Purcell 1995 marked the tercentenary of Purcell’s death, and my new score Revelation has been written as a tribute to his music and the ornate and confident spirit of his age. There are five major sections: 1 Prologue 2 Variations on a ground bass I 3 Fugue 4 Variations on a ground bass II 5 Epilogue and Resurrection The score uses many features of the Baroque Concerto Grosso, and arranges players in two equal groups from which soloists emerge to play in a variety ofvirtuoso ensembles. It quotes freely from Purcell’s own piece Three Parts on a Ground in which he has composed a brilliant sequence of variations over a repeating six-note bass figure. This original motif can be heard most clearly beneath the duet for Cornet 5 and Soprano at the beginning of the 2nd section. There is, of course, a religious dimension to Revelation as the title suggests, and the score is prefaced by lines by the 17th century poet John Donne. His Holy Sonnet paraphrases the Book of Revelation in which the dead are raised at the sounds of the last trumpet. Donne’s trumpets are themselves placed stereophonically “. . . At the round Earth’s imagined corners” and it is this feature that today’s players represent as they move around the performing area. Their final apocalyptic fanfares can be heard at the close of the score, as Purcell’s music re-enters in a lasting tribute to England’s first composer of genius. Philip Wilby September 1995 At the round Earth imagined corners, blow your trumpets, angels, and arise, arise from death, you numberless infinities Of souls, and to your scattered bodies go. All whom the flood did, and fire shall o ‘erthrow All whom war, dearth, age, agues, tyrannies, Despair, law, chance hath slain, and you whose eyes Shall Behold God, and never taste death woe. John Donne after Revelation Ch. 11 v.15

    Estimated delivery 12-14 days