Results
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£17.50
The High Council (Brass Band - Score only) - Steadman-Allen, Ray
This march was written at the request of the then Chief of the Staff, Commissioner Arnold Brown for the welcome meeting of the 1974 High Council, a gathering of The Salvation Army's top leaders from around the world who meet to elect a new General. The scintillating music is filled with many wonderful and surprising shifts of key, rhythm and instrumental colour. Evangeline Booth's song 'The world for God' provides the international reference while at the trio's peak, the composer joins three tunes in impressive counterpoint; 'We're the Army' (cornets), 'A Robe of White' (horns and baritones) and 'Bound for Canaan's Shore' (trombones). The march ends with a dazzling shift into triple time and an impressive molto allargando codetta.
Estimated dispatch 7-14 working days
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£89.95TRUMPETS OF THE ANGELS (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95
TRUMPETS OF THE ANGELS (Gregson) (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels was commissioned by the Fodens (Courtois) Band for their centenary concert at The Bridgewater Hall in 2000. It is based on a work written for the BBC Philharmonic and Huddersfield Choral Society in 1998, the starting point of which was a quotation from the Book of Revelation:and I saw the seven angels which stood before God; and to them were given seven trumpetsThus the idea behind the work is dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band, four on-stage, the others off-stage. Six of the solo trumpets eventually join the band, but Trumpet 7 remains off-stage and, indeed, has the most dramatic and extended cadenza representing the words of the seventh angel ...and time shall be no more.The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets, brass band, organ and percussion (deploying 'dark' instruments such as tam-tams, bass drum and two sets of timpani). The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on solo trumpets. In turn, each of the first four solo trumpets play cadenzas and then all four join together, independently playing their own music. The organ enters dramatically with its own cadenza, leading to the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament for humanity, slow music which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At the climax, Trumpet 7 enters playing the opening four-note motif, dramatically extended to almost three octaves. This cadenza (to the partial accompaniment of tam-tams) introduces new material and foreshadows the ensuing scherzo which is fast and aggressive. Despite the somewhat desolate mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.- Edward Gregson
Estimated dispatch 7-14 working days
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£89.95
TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score and Parts) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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£44.95
TRUMPETS OF THE ANGELS - 2016 Edition (Gregson) (Brass Band - Score only) - Gregson, Edward
The Trumpets of the Angels is a large-scale work, scored for seven solo trumpets (or cornets), brass band and percussion (deploying 'dark' instruments such as three tam-tams, bass drum and two sets of timpani). The genesis of the work is a quotation from the Book of Revelation ... and I saw the seven angels which stood before God; and to them were given seven trumpets.Thus the idea behind the work is highly dramatic and I have tried to achieve this by the spatial deployment of seven solo trumpets around the band. Trumpet 7 remains separate from the band throughout and, indeed, has the most dramatic and extended cadenza, representing the words of the seventh angel ... and time shall be no more.The work opens with a four-note motif announced by off-stage horns and baritones and answered by fanfare figures on four solo trumpets. In turn, each then play cadenzas before joining together, independently playing their own music. This leads to a sung Kyrie Eleison with accompanying solos for Flugel Horn and Baritone, after which we hear the entry of solo trumpets 5 and 6 with music that is more urgent and rhythmic, describing the Horsemen of the Apocalypse.The music reaches another climax, more intense this time, with the horns and baritones (now on-stage) again sounding the transformed motif, before subsiding into what might be described as a lament of humanity - slow, yearning music, which builds from low to high, from soft to loud, with a melody that is both simple and poignant. At its climax, Trumpet 7 makes a dramatic entry, playing the opening four-note motif, but expanded to almost three octaves. This cadenza (to the partial accompaniment of 3 tam-tams, representing the Holy Trinity) introduces new material and foreshadows the ensuing Scherzo, introduced by antiphonal timpani before the band enters with music that is fast and foreboding. Despite the somewhat desolate and 'unstable' mood of this music, it slowly moves towards an optimistic conclusion, transforming the 'humanity' music into an affirmative and triumphant statement.The original version of The Trumpets of the Angels was commissioned by the Fodens Band for their centenary concert at The Bridgewater Hall, Manchester, in 2000, and contained an important part for organ. In 2015 I was asked by Nicholas Childs to create a New Performing Edition for the Black Dyke Band; without organ, and including newly composed material. This New Performing Edition was given its first performance at the European Brass Band Festival in Lille in April 2016. The work is dedicated In tribute to Olivier Messiaen.- Edward Gregson
Estimated dispatch 7-14 working days
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£12.00The World Rejoicing (Brass Band - Study Score)
In searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Crger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days
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£34.95The High Council (Brass Band - Score and Parts)
This march was written at the request of the then Chief of the Staff, Commissioner Arnold Brown for the welcome meeting of the 1974 High Council, a gathering of The Salvation Army's top leaders from around the world who meet to elect a new General. The scintillating music is filled with many wonderful and surprising shifts of key, rhythm and instrumental colour. Evangeline Booth's song 'The world for God' provides the international reference while at the trio's peak, the composer joins three tunes in impressive counterpoint; 'We're the Army' (cornets), 'A Robe of White' (horns and baritones) and 'Bound for Canaan's Shore' (trombones). The march ends with a dazzling shift into triple time and an impressive molto allargando codetta.
Estimated dispatch 7-14 working days
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£17.50The Mansions of Glory (Score Only)
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution.Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Amid the breathless silence of the audience, she repeated: 'My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.' This was all. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God." 1. My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.2. I love thee because thou hast first lovd me,And purchased my pardon on Calvary's tree;I love thee for wearing the thorns on thy brow,If ever I loved thee, my Jesus, 'tis now.3. I will love thee in life, I will love thee in death, And praise thee as long as thou lendest me breath; And say, when the death-dew lies cold on my brow; If ever I loved thee, my Jesus, 'tis now.4. In mansions of Glory and endless delight,I'll ever adore thee and dwell in thy sight; I'll sing with the glittering crown on my brow: If ever I loved thee, my Jesus, 'tis now. William Ralph Featherstone
Estimated dispatch 7-14 working days
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£48.26Boreas: The North Wind (Brass Band) Derek Jenkins
Boreas was an ancient Greek deity personifying the north wind. He was a winged god of ruthless disposition, which was rivaled only by the harsh wintry winds at his command. Boreas fell in love with Orithyia, the King's daughter. Contrary to his genuine nature, he attempted to woo her with sweet words of devotion. His efforts were in vain, and Orithyia failed to yield to his advances. With this rejection, Boreas's temper flared and he, once again, was overcome by his icy and merciless nature. Like Boreas, this work begins with slow, lyrical lines that quickly fade into an unrelenting fury of anger. Moments reminiscent of Boreas's words of affection appear, but they are quickly washed away as the piece escalates. This arrangement was written for Joseph Parisi and the Fountain City Brass Band as a small token of thanks. The original version for wind ensemble was commissioned by and written for Timothy Shade and the Bethel College Wind Ensemble. To view a video of Diamond Brass Band performing the work please visit: www.youtube.com/watch?v=Co4oreV7Hm4 Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 2nd Section + Instrumentation: 1 Soprano Cornet (Eb) 9 Cornets (Bb) 1 Flugelhorn 3 Tenor Horns (Eb) 2 Baritones (Bb) 2 Trombones (Bb) 1 Bass Trombone 2 Euphoniums (Bb) 2 Basses (Eb) 2 Basses (Bb) 4 Percussion
In stock: Estimated dispatch 1-3 days
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£29.95
THEY SHALL COME FROM THE EAST (Brass Band Set) - Kevin Larsson
One of the most well-known songs from the Gowans and Larsson musical, 'The Blood of the Lamb' is given an 'African' treatment which builds to a majestic climax emphasising the words; 'From every tribe and every race, all men as brothers shall embrace; they shall come from the east, they shall come from the west, and sit down in the Kingdom of God'.
Estimated dispatch 7-14 working days