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  • £59.95

    The Land of the Long White Cloud (Aotearoa) - Philip Sparke

    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 delivery 12-14 days
  • £60.00 £60.00
    Buy from Peter Meechan Music

    Origins - Peter Meechan

    Origins is in three movements, with each movement having a different subject matter, all linked by the idea of origins: the first movement refers to musical origins; the second to the origins of life; and the final movement to the space exploration - the research of all origins. The first movement is based on a short motif, heard in the first three notes the soloist plays. These three notes cover the interval of a minor third (an interval that often plays a crucial role in my music) on which the whole concerto is built. The soloist and accompaniment interplay freely throughout the opening section, before an ostinato accompaniment appears - over which the soloist sounds a long legato melody. A short cadenza follows and a return to the opening material leads the movement to an end. The second movement, titled Harry's Song, is - as tradition dictates - a slow movement. Happy and reflective in nature, the main melody was written on the evening that my closest friend, Mark Bousie (a fine euphoniumist himself), and his wife Jayne, had their first child - Harry Bousie. It seemed only fitting that this song should be written for Harry in celebration. The final movement brings me back to a lifelong fascination with space, and in this particular movement, the Space Shuttle Discovery. Having completed 39 missions (including flying the Hubble telescope in to orbit), and spent a total of 365 days in space, SS Discovery made its final voyage in 2011 and was taken to the Smithsonian in Washington D.C. in April 2012. This final movement, titled Discovery, pays tribute to the great shuttle whose missions inspired millions across the generations. Origins was commissioned by Marco Schneider, Adrian Schneider and the Dunshan Symphonic Wind Orchestra, Beijing, China.

    Estimated delivery 12-14 days
  • £73.00

    Ross Roy - Jacob de Haan

    In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life.

    Estimated delivery 10-14 days

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  • £24.95

    Mists on the River Wear - Dan Price

    Mists On The River Wear is a ‘song and dance' for solo tuba. It was commissioned in 2010 by the Black Dyke Band's solo Eb Bass player and international tuba star Joseph Cook.The SongThe work opens with unaccompanied tuba announcing a three note motif which is the basis for the entire work. The accompaniment enters in broken cluster chords which emulate the mist gliding on the river at early morning. The mist clears and the river motif appears on tenor horns whilst the tuba melody flows above.Geographically, the River Wear passes past Durham Cathedral and Durham Castle as it works its way through the city and to reflect this musically there is an element of a renaissance dance in the centre of this movement in an attempt to capture the historic and physically dominating presence of these buildings within the city.As the movement draws to a close there is a passage of light scoring which enables the soloist to demonstrate their ability at performing multi-phonics, a haunting sound which is eventually engulfed by the sound of the river broadening out as it travels on its journey.The DanceIn contrast to the lyrical first movement, this second movement showcases the versatility of the instrument and the agility of the soloist in a lively dance.The dance begins in compound time and echoes the style of an English jig which represents the energetic life you find in the university city of Durham. There is a deliberate quote written into the theme of the jig which comes from the 1st Movement of Ralph Vaughan-Williams' Concerto for Bass Tuba, which Joseph and the composer share a fondness towards.A brief return to the riverside opening material of the piece quickly leads us into a pseudo "Jazz" waltz, where cross rhythms between soloist and accompaniment gives the melody a sense of disjointedness and ambiguity. However, the music soon flows back into a reprise of the jig with a closing cadenza section that brings Mists On The River Wear to a close.

    Estimated delivery 5-7 days
  • £73.00

    Ross Roy (Brass Band - Score and Parts) - De Haan, Jacob

    In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life.Duration: 9:20

    Estimated delivery 12-14 days

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  • £34.95

    Elixir of Youth - Christopher Bond

    Written for Brass for Heroes 2013Elixir of Youth (2013) was written for the 2013 Brass for Heroes charity event where it was premiered on 19th October 2013 at St Paul's Hall in Huddersfield under the baton of Philip Harper. The title of the work reflects the nature of the band that was put together for that premiere performance; an all-star youth band comprising a selection of the country's young brass banding talent, with the term Elixir referring here to the everlasting talent seen in young brass players throughout the United Kingdom's brass bands and bands' and teachers abilities to keep producing such high quality musicians for the banding movement.The work, structured in three sections, is a showcase for band with a heroic opening where fanfare-like gestures in the cornets and trombones juxtapose rapid euphonium and baritone runs, alongside sweeping horns and percussion effects. As the piece progresses, a grove is introduced - just in the tubas at first, accompanied by a hi-hat - before spreading through the band, definitely stuff to tap your toes to! The middle, slower section of the work sees both flugel and cornet solos, with additional inputs from the euphonium and solo horn before a climax and return to the tempo and music of the opening section. A rousing close concludes the work where all of the work's themes are interweaved to create a sense of power, unity and grandeur; an Elixir of Youth.

    Estimated delivery 5-7 days
  • £34.95

    Elixir of Youth - Christopher Bond

    Elixir of Youth (2013) was written for the 2013 Brass for Heroes charity event where it was premiered on 19th October 2013 at St Paul’s Hall in Huddersfield under the baton of Philip Harper. The title of the work reflects the nature of the band that was put together for that premiere performance; an all-star youth band comprising a selection of the country’s young brass banding talent, with the term Elixir referring here to the everlasting talent seen in young brass players throughout the United Kingdom’s brass bands and bands’ and teachers abilities to keep producing such high quality musicians for the banding movement.The work, structured in three sections, is a showcase for band with a heroic opening where fanfare-like gestures in the cornets and trombones juxtapose rapid euphonium and baritone runs, alongside sweeping horns and percussion effects. As the piece progresses, a grove is introduced – just in the tubas at first, accompanied by a hi-hat - before spreading through the band, definitely stuff to tap your toes to! The middle, slower section of the work sees both flugel and cornet solos, with additional inputs from the euphonium and solo horn before a climax and return to the tempo and music of the opening section. A rousing close concludes the work where all of the work’s themes are interweaved to create a sense of power, unity and grandeur; an Elixir of Youth.

    Estimated delivery 12-14 days
  • £64.95

    Suite from Gloria - Karl Jenkins

    "The Latin text of the Gloria is an ancient hymn of praise from the Christian tradition derived from the song of the angels who announce the birth of Jesus, as recorded in the Gospel according to St Luke. The Gloria has formed part of the Ordinary of the Mass for many centuries, and in that context has been set by many composers; there are also independent settings by Handel, Vivaldi and Poulenc. But the opportunity to work with such an iconic text also afforded me an opportunity to explore how other religions perceive the Divine. This is an ongoing feature of my work, from the multi-faceted The Armed Man: A Mass for Peace, the Japanese haiku in my Requiem to the ancient Arabic text in my Stabat Mater.” Karl Jenkins, June 2010Originally scored for choir, orchestra and ethnic percussion, Karl Jenkins’ Gloria received its world premiere on November 7th 2010 at the Royal Albert Hall, and was recorded in the same year by the National Youth Choir of Great Britain and the London Symphony Orchestra conducted by Karl Jenkins.This version for brass band and percussion was arranged and edited by Andrew Wainwright and Robert Childs, and received its premiere on November 16th 2014 at The Sage Gateshead performed by the Grimethorpe Colliery Band conducted by Robert Childs.The work is in five movements: I. The Proclamation: Gloria in Excelsis DeoThe Proclamation begins with a rousing fanfare featuring antiphonal cornet choirs, before unison plainchant introduces melodic lines for solo cornet flugel horn and tutti band. The movement closes with a return to the fanfare style. II. Prayer: Laudamus tePrayer is typical of Karl Jenkins; serenely beautiful and lyrical in style. This movement features various soloists and works well in isolation. III. The Psalm: Tehellim - Psalm 150The Psalm is vibrant and high paced featuring ethnic style percussion. Virtuosic in nature the movement also makes use of the antiphonal cornet choirs.IV. The Song: I’ll Make MusicThe Song represents the ‘Golden Section’ of the suite and is presented here as a cornet solo. Like Prayer, this heavenly music is also effective as a stand alone concert item.V. The Exaltation: Domine Deus The Exaltation follows the same form as The Proclamation. With a lyrical middle section featuring solo horn, flugel and solo cornet, the start and finish make use once again of brilliant antiphonal cornet choirs.Suite from Gloria can be heard on 'Grimethorpe Entertain' CD available to buy here.

    Estimated delivery 5-7 days
  • £30.00

    MARCH SLAV (Brass Band) - Littlemore, Phillip

    March Slavwas composed in 1876 at the request of Nicolai Rubenstein (who had recently spurned Tchaikovsky's first piano concerto, and might have wanted to return to favour with the composer). Tchaikovsky loved Russian folk music??"looking to it for inspiration throughout his career??"and he makes considerable use of it here. From the opening theme to the final glorious statement of the Czarist national anthem, the march draws on the music of his motherland. It was first performed in a charity concert to support a war effort in the Balkans. He composed and fully scored the march in the short time of just 5 days. At the first performance its impact was such that it had to be encored in full, receiving a tumultuous reception - twice! Duration: 7:20

    Estimated delivery 12-14 days

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  • £30.00

    March Slav - Piotr Tchaikovsky - Phillip Littlemore

    March Slav was composed in 1876 at the request of Nicolai Rubenstein (who had recently spurned Tchaikovsky’s first piano concerto, and might have wanted to return to favour with the composer). Tchaikovsky loved Russian folk music—looking to it for inspiration throughout his career—and he makes considerable use of it here. From the opening theme to the final glorious statement of the Czarist national anthem, the march draws on the music of his motherland. It was first performed in a charity concert to support a war effort in the Balkans. He composed and fully scored the march in the short time of just 5 days. At the first performance its impact was such that it had to be encored in full, receiving a tumultuous reception – twice! Item Code: TPBB-009 Duration: c.7'20"

    Estimated delivery 5-7 days