Results
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Off Duty - John Dankworth - Len Jenkins
The late John Dankworth (1927-2010) made a string of recordings in the 1960s that have since come to be regarded as some of the finest British jazz of their time. Amongst these is his composition 'Off Duty' which was recorded in the 1960s when the influence of pop and rock on jazz was at its height and instruments such as the bass guitar were beginning to be incorporated into jazz's vocabulary. At this time and almost subconsciously, a Dankworth 'pop' style also evolved. This was a balanced marriage between jazz and pop which is here demonstrated in 'Off Duty' thanks to the ingenious and original orchestration by John Dankworth, and the faithful arrangement for Brass Band by one of his fans, Len Jenkins. The title is interesting as John loved to play with words. 'Off Duty' could mean relaxing away from work, but could also carry the implication of something not attracting taxation.... a sort of 'duty-free'. About the same time, the Dave Brubeck Quartet produced the seminal 'Take Five'... so could this be John's take on that title, suggesting a short break? Which meaning fits best for you? The piece would best suit the capabilities of a brass band playing at the standard of Third Section or above.
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£25.00Canzona XIII
DescriptionCanzona XIII, also known as Canzon Septimi Octavi Toni a 12, was first published in 1597 as part of a collection entitled 'Symphoniae Sacrae' - this collection was a mixture of instrumental and choral pieces, and also included the famous Sonata Pian'e Forte, probably his best known work.Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark's Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after 'Symphoniae Sacrae' was published.Like many of his works, this Canzona was written to take advantage of the unique layout of St Mark's, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Canzona XIII has three different antiphonal 'choirs' and in this arrangement the band is split into three groups to reflect Gabrieli's innovative idea. Ideally the three groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!As Gabrieli didn't have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.This arrangement was first performed by the Coppull and Standish Band conducted by Andrew Baker in 2009.You can follow a preview of the score while listening to an audio export of the music below!
Estimated dispatch 7-14 working days
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£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 working days
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£10.00Kopanitsa
DescriptionKopanitsa was commissioned by Gavin Pritchard, who is also the work's dedicatee and gave the first performance with the Tongwynlais Temperance Band conducted by Gareth Pritchard at the Butlins Mineworkers Championship on 20 January 2008, winning the prize for best soloist as a result. He has recorded it on the CD "Enter the Galaxies" accompanied by the Cory Band conducted by Robert Childs.Gavin had requested a virtuoso showpiece featuring as many instruments as possible. The solo part is therefore written for vibraphone (bowed and struck), 10 x tuned tom toms, 5 x suspended cymbals plus hi-hat and a xylophone. The soloist's 'choreography' therefore forms an integral part of the performance. This can be seen to great effect in Gavin's performance of the work at the 2013 Brass in Concert Championship with Tredegar Band, available on the DVD of the event from World of Brass. A 'kopanitsa' is a Bulgarian folk dance that traditionally features two slow beats and two quick beats, reflected in the central 10/8 section. The music is deliberately Balkan in character, using the characteristic modes of Greek and Bulgarian folk music, and accelerates regularly to finish at breakneck speed. The tom-tom section marked 'ad lib.' after [D] can be improvised if the soloist wishes.You can follow the score in the preview video below!
Estimated dispatch 7-14 working days
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£69.95
STARMAKER (Brass Band Set) - Ray Steadman-Allen
Described by the composer as one of his more ambitious works for brass band, this work is in three movements. Although each movement is capable of standing alone, the composer's own concept is totality with the three movements forming a composite whole. Starmaker presents in music the concept of God's creation of the universe. The frantic and sometimes harsh music of the first movement portrays the chaos from which the immortal and invisible wisdom of God created the order and structure of the heavens, with the stars and planets in their ordered places. An exquisite second movement, based on the benediction 'Now the day is over', brings a calm and ordered peace to the universe, also reminding listeners of the night sky, when God's amazing work is best viewed in all its awesome wonder. The final movement is celebratory in nature, with fragments of melodies like 'Praise to the Lord, the Almighty, the King of creation' appearing in various guises.
Estimated dispatch 7-14 working days
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Dance On (Je me sens bien aupres de toi) - Adams, Murtagh, Murtagh & Stellman - Len Jenkins
"Dance On" is probably best remembered in the UK by two versions. One by the Shadows which went to Number 1 in the UK Singles chart and the other by Kathy Kirby which made number 11 in the 1963 UK charts. The other side of the Channel, in France, Petula Clark recorded the song in French ("Je me sens bien aupres de toi") and Italian ("Sto volentieri con te") which made the Top 5 of the French and Italian charts. She also recorded an English version for album release on the Canadian market. The infectious rhythm will get you tapping your feet or even getting up to dance. It's a real bopping number from the 60's, and well within the capabilities of most bands. Enjoy.
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£27.95Three Fanfares (Brass Ensemble - Score and Parts)
This set includes three fanfares by Edward Gregson for symphonic brass and percussion ensemble:Fanfare for a New EraFanfare for the NorthFanfare for EuropeFanfare for a New Era: This fanfare was commissioned by Lady Sheila Stoller to celebrate the opening of the Stoller Hall at Chetham's School of Music in Manchester (UK). It is dedicated to Sir Norman Stoller, who generously donated the funding for the new concert hall. It was first performed by students of Chetham's School of Music, conducted by Stephen Threlfall, at the Royal Opening of the Stoller Hall on 24 April 2017. Ideally, the fanfare should be performed using as much spatial arrangement as possible, so that the antiphonal effects are heard to their best advantage. Whatever the chosen lay-out, the 1st Trumpet should be positioned off-stage in a suitable position. This could be a rear balcony if the venue is not too large, or in a side balcony in a larger concert hall. Duration: 3.00Fanfare for the North: This fanfare was commissioned by the Gateshead Garden Festival of 1990 and was first performed by London Brass Virtuosi, directed by David Honeyball, at the Royal Opening by HM The Queen. Its four-note motif (G, A, E, D), which is heard throughout the fanfare, is derived from the letters of 'Gateshead'. Duration: 1.15Fanfare for Europe: This fanfare was specially commissioned for two concerts celebrating the UK's entry into Europe (or the European Economic Community as it was then known) in 1973. The first performances were given at York Minister and the Royal Albert Hall, London, in January 1973. The fanfare was also featured as the opening music for the first episode of a series of short documentary programmes made for BBC Radio 4 in 2018 by Mark Mardell entitled Brexit: A Love Story? Duration: 1.15Duration: 5.30
Estimated dispatch 7-14 working days
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£34.95Island Whirl (Brass Band - Score and Parts)
Island Whirl was commissioned by Margaret Milligan who wanted a brand new piece of music composed as a present for Ian, her husband for his 70th birthday. Ian Milligan is a keen and dedicated musician and he is the musical director of Callendar Brass, based in Callendar near Stirling in Scotland.Margaret contacted me about the possibility of composing a short lively piece which had a Scottish theme that would be ideal for Callendar Brass Band and any other ensemble to get their teeth into. This piece takes its inspiration from the traditional Scottish folk song 'An Eriskay Love Lilt' which is a particular favourite of both Margaret and Ian.With thunderous Celtic drums the piece opens in a whirlwind of sound with fanfare brass and an off-stage soloist that can perform using either the cornet or trumpet. After the exciting opening, the brass and drums die away to allow the off-stage soloist to air the traditional tune 'An Eriskay Love Lilt'.The beautiful haunting melody, keeping its originality throughout undergoes a series of changes in the accompanying harmonic material before dying away to allow the Celtic drums to return. The percussion whip the band into a frenzy as the piece gets faster and faster. Just prior to the final notes the band diminuendo to allow one last closing statement from the Eriskay Love Lilt lead by the off-stage soloist before the ensemble charge to a dramatic close.When performing this piece I would recommend the off-stage soloist taking a position somewhere in the audience, so they can almost feel part of the performance. In addition, with the two tom-tom parts that represent the Celtic drums, bands should make the most of showcasing them by getting the two drummers out to the front of the band to perform. The ideal stage position would be with the players set up in stereo with one player in front of the soprano cornet and the other in front of the solo trombone.With the various choreographed movements from both the off-stage soloist and the percussionists. This piece is a great addition to any concert repertoire and is an ideal showcase for bands who want to try something a little different.I wish Ian at 70 years young, all the very best with his music making in the many years to come and I hope this piece, composed especially for him and Callender Brass brings them many years of musical enjoyment.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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£87.95Masquerade (Score and Parts)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days
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£44.95Masquerade (Score Only)
The first performance took place on the 4th. September 1993 at the Free Trade Hall in Manchester during the British Open Brass Band Championships.Note by Philip Wilby:Masquerade is a centenary tribute to Verdi's last opera Falstaff and takes its final scene as the basis for my own piece. Thus I have used some of Verdi's music, and some of Shalespeare's plot, and woven them into a fabric with highly demanding music of my own to produce a work in the great tradition of operatically-based brass band pieces. Such scores date from the very beginnings of band repertory and are often not direct arrangements in the established sense but new compositions produced in homage to a past master. They may still offer performers and audience alike something familiar interwoven with something new. My own piece reuses some elements from the original story: . .Falstaff has been caught in a web of his own lies by the ladies of the town, who propose to teach him a lesson. The story opens at night in Windsor Great Park. The plotters, variously disguised in Hallowe'en fashion (as fairies,elves hobgoblins etc!) assemble in the park to await Falstaff's arrival (musicologists will, perhaps, note a rare use of 'large bottle in F' being used during this scene of suppressed alcoholic revelry!). Falstaff's companions, Bardolph,Piston and Robin, enter (represented here by the three trombones!), and are variously abused by the masqueraders. At the height of the Tout an alarm sounds and Falstaff (euphonium cadenza) enters as Midnight strikes. From a safe hiding place he watches as the disguised Nanetta (principal comet) sings a serene solo as the moon appcars above the trees. With sudden force the others seize him and drag him from his hiding place. As in the traditional game 'Blind Man's Buff', he is roughly turned seven times (a sequence of solo accelerandi) until, at last, he recognizes his assailants as his sometime friends. Far from complaining, Verdi's character concludes the opera with a good-humoured fugue on the words.... 'All the World's a Joke... Every mortal laughs at the others, But he laughs best who has the final laugh. Philip Wilby.
Estimated dispatch 7-14 working days