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  • £103.00

    The Lonesome Knight - Saskia Apon

    The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001. Once upon a time there was a knight who went to fight and defeat the dragon that had been killing the people of his town. There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far away from his home and now is lost. He roames around trying to find his way home, but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon. The knight joins in the festivities but after a long evening is once more left alone. The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people. However he becomes greatly disillusioned when there is none to be found. In his desperation the knight climbs the tower ready to jump off. Suddenly he hears a heavenly voice. Right before him is the most beautiful princess he has ever seen. She graciously thanks him for killing the dragon, a spark ingnites between them and they build a life together and.... live happily ever after! Saskia Apon studied harp at Rotterdam School of music. With this instrument she rounded of her studies by passing with credit, however it was her love of composition that remained her focus. Self-taught, she began composing at the age of nine. Since then she has written pieces for The Dutch Brass Quintet, The Dutch Brass Ensemble, The Rotterdam Trombone Quartet and the brass band quintet Brass Ability. At present she is the in-house arranger for The Rotterdam Philarmonic Brass Ensemble. Besides the customary attention for the real splashworks she endeavours to add value to the melodic function of the brass wind instruments in her music. Her compositions and arrangements can be found on many diverse Cds.The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001. Once upon a time there was a knight who went to fight and defeat the dragon that had been killing the people of his town. There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far away from his home and now is lost. He roames around trying to find his way home, but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon. The knight joins in the festivities but after a long evening is once more left alone. The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people. However he becomes greatly disillusioned when there is none to be found. In his desperation the knight climbs the tower ready to jump off. Suddenly he hears a heavenly voice. Right before him is the most beautiful princess he has ever seen. She graciously thanks him for killing the dragon, a spark ingnites between them and they build a life together and.... live happily ever after! Saskia Apon studied harp at Rotterdam School of music. With this instrument she rounded of her studies by passing with credit, however it was her love of composition that remained her focus. Self-taught, she began composing at the age of nine. Since then she has written pieces for The Dutch Brass Quintet, The Dutch Brass Ensemble, The Rotterdam Trombone Quartet and the brass band quintet Brass Ability. At present she is the in-house arranger for The Rotterdam Philarmonic Brass Ensemble. Besides the customary attention for the real splashworks she endeavours to add value to the melodic function of the brass wind instruments in her music. Her compositions and arrangements can be found on many diverse Cds.

    Estimated delivery 10-14 days

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  • £123.00

    As if a Voice Were in Them - Oliver Waespi

    "As if a voice were in them..." runs William Wordsworth's poem about the High Alps. Nature is presented in this poem as an all-powerful and nameless force but also as a creative energy and a mirror on man's soul. It was commissioned by the Swiss Brass Band Association for the 2014 Montreux Swiss Championships. A stunning winning piece for your contests!

    Estimated delivery 10-14 days

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  • £113.00

    As if a Voice Were in Them - Oliver Waespi

    “As if a voice were in them…” runs William Wordsworth’s poem about the High Alps. Nature is presented in this poem as an all-powerful and nameless force but also as a creative energy and a mirror on man’s soul. It was commissioned by the Swiss Brass Band Association for the 2014 Montreux Swiss Championships. A stunning winning piece for your contests!

    Estimated delivery 12-14 days
  • £104.00

    A Journey to The Bermuda Triangle - Pimpanit Karoonyavanich

    A Journey to The Bermuda Triangle - Pimpanit Karoonyavanich - 11'20'' - BVT117 After Karoonyavanich has seen her favourite seaview painting by Romain Steppe (1859-1927) for the first time, she was directly inspired and started to write “A Journey to The Bermuda Triangle”. This work consists of 4 sections: The Storm, The Graveyard, The Kingdom of Mermaids and The Escape. The concept of the opening is influenced by Chopin's Etude Op.25 No.11 “Winter Wind” which begins with a calm melodic theme. Then it turns immediately into the agitated and energetic movement representing the calm ocean that turns wild. The storm has taken away many pilots and sailors' life’s, they say people who survive from the storm were able to see the ruined of the victims at the grave yard. This movement of "Graveyard" sounds mysterious and dreadful. The following section "The Kingdom of Mermaids" repeats the storm theme and builds up gradually with solo’s to finally have a big climax reflecting the beauty of the Kingdom of Mermaids. According to one of the legends of the Bermuda Triangle, mermaids exist there and trick the sailors with their beautiful voice and appearance then take away all their souls. Some sailors realized that they were tricked and try to escape. Unfortunately, none of them could ever return back home. This section ‘The escape’ begins with low brass solos and gets more intense until the climax at the end honouring all the Bermuda Triangle's victims.

    Estimated delivery 10-14 days

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  • £68.00

    Sunday in the Park - Philip Sparke

    Sunday in the Park was written for tenor horn virtuoso Sheona White, and commissioned by her partner, Matt Wade, as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years, having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter, Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which, whilst not being a 'Carpenters' pastiche, paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist, which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax, at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist, which brings the work to a peaceful close.

    Estimated delivery 10-14 days

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  • £65.00

    The Once and Future King

    DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.https://www.morthanveld.com/wp-content/uploads/2017/05/The-Once-Future-King-Tintagel.mp3The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.https://www.morthanveld.com/wp-content/uploads/2017/05/The-Once-Future-King-Lyonesse.mp3The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need – hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.https://www.morthanveld.com/wp-content/uploads/2017/05/The-Once-Future-King-Badon-Hill.mp3

    Estimated delivery 5-7 days

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  • £24.95

    For the Fallen - Karl Jenkins - Robert Childs

    For the Fallen is a setting of Laurence Binyon's famous ode honouring the war dead, familiar from Remembrance Day services, including the lines "At the going down of the sun and in the morning, We will remember them".In its original form for soprano voice, choir and orchestra the work received its premiere in the Royal Albert Hall on November 13th 2010 at The Festival of Remembrance, performed by Hayley Westenra, Choirs of Langham and Wimbledon Choral Society and the orchestra of the Coldstream Guards conducted by Lt Col Graham Jones.In this setting for brass band, part of the poem is allotted to narrator, and The Last Post is incorporated into the score; initially featuring antiphonal solo cornets. This arrangement received its premiere in the Sage on November 17th 2014 performed by the Grimethorpe Colliery Band conducted by Robert Childs; it formed part of their winning ‘Brass In Concert' programme entitled ‘Lest We Forget' and can be heard in full on their 'Grimethorpe Entertain' CD release available to buy here.The work is dedicated to the composer's uncle, Alfryn Jenkins, who lost his life as captain of a Lancaster bomber over Berlin in 1944.

    Estimated delivery 5-7 days
  • £9.95

    Sunday in the Park (Brass Band - Score only)

    Sunday in the Park was written for tenor horn virtuoso Sheona White, and commissioned by her partner, Matt Wade, as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years, having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter, Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which, whilst not being a 'Carpenters' pastiche, paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist, which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax, at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist, which brings the work to a peaceful close. 07:07

    Estimated delivery 12-14 days

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