Results
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£186.00The Maestro - Andrew Pearce
The Maestro, a concertino voor trompet en band, was commissioned by Philip Cobb, principal trumpet of the London Symphony Orchestra. I spent most of Summer 2011 in Prague and London composing this demanding piece, for this was a wonderful opportunity to write a large scale work for one of the world's finest Trumpet virtuosos and I accepted the assignment with great enthusiasm. I also felt a great responsibility to deliver a tour de force for this world class player that was both challenging and enjoyable. Phil was seeking melodies and themes in the piece and had enjoyed my album 'Cinema Symphony', and the dramatic vistas it conjured up. Before writing began, I listened to his beautiful album 'Life Abundant' many times, ensuring I had his sound in my head while writing. The piece represents the many aspects of a contemporary trumpeter's musical life from; brass band chorale (a homage to Phil's musical roots), to the symphonic concert hall to the film recording studio. I am delighted to have had Phil and the International Staff Band record this work under the baton of Dr Stephen Cobb. Its a tour de force not only for the soloist but also for the band and should be an exciting challenge for the very best bands out there.
Estimated dispatch 10-14 working days
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£34.95Unity Series Band Journal October 2017 Numbers 458-461
March Medley I Believe (Noel Jones)This potpourri of songs brings the strong assurance of faith and hope together in an attractive and enjoyable manner. The tunes featured are 'I believe we shall win', 'I believe God answers prayer', 'I believe in God the Father' and 'I believe in the word of God'.Horn Solo - Promises (Jorgen Ljserdorn)This is a brass setting of a song by Captain Matthew Spencer with the same title. The contemporary setting is simple in design and should prove to be popular amongst many who feature this journal.Suite Like a melody (Steve Forman)Major Stephen Foreman has written a short suite which will bring an easy yet attractive addition to most band's repertoire. I am praying (Jared Proellocks)A contemporary setting of the much loved chorus 'I am praying blessed Saviour' written by a young Salvationist from the Australian Southern Territory.
Estimated dispatch 7-14 working days
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£64.95Platform to the Heavens
The piece takes its inspiration from the mountain ranges from one of my favourite countries, Switzerland.I have visited the Swiss Alps on many occasions and I am still taken back by its sheer awesome beauty with every visit. This commission gave me the opportunity to pay homage to this wonderful landscape and paint my own musical picture of it.The piece opens with what I imagine daybreak would be like at one of its many peaks. With the sun growing behind the mountain range, the piece builds from a single note to a huge climatic chord revealing Mother Nature's creation.Then at rehearsal figure 'C' the tempo changes dramatically as we fly through the many slopes of the mountains as if on a manic skiing expedition, revealing the many dangers within the Swiss Alps.The twists, turns and climaxes begin to die away as we enter rehearsal figure 'M' - nightfall over the mountains. As the sun disappears, the sky darkens to reveal the beautiful starlit sky above the mountain range. This middle section starts with the various cadenzas that serve as echoes around the Alps. It then leads to a lyrical solo at rehearsal figure 'O' as the moonlight illuminates the icy mountain peaks. A final cadenza to conclude this section highlights the end of nightfall as the sun starts to rise again.This recapitulation from the opening, signals a new dawn as the sun rises above the snowy peaks once again. The music at this point in its slightly altered state highlights the dawn of a new day in the Alps. The fast manic ski ride follows which takes the piece to its grand finale conclusion.The idea behind the title of this piece is that the Swiss Alps are so beautiful and vast; I can only imagine that they could be a platform connecting the earth to the heavens above.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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£228.70Fanfare and Chorale - Egil Hovland
This arrangement (or edition) for brass band will give the possibility for more performances of this fine work by Hovland. The composer, before his death, examined my work and made no suggestions for changes, and his approving comments were complimentary and encouraging. The work was originally written for Concert Band in 1966 as Op. 54a to St. Olaf College Band in the US. It was transcribed in 1967 for symphony orchestra as Op. 54b by the composer himself. The challenges in arranging the piece for brass band were mostly concerned with satisfactorily covering the upper register used by piccolo, flutes and clarinets, and while there are wonderful brass players around who have amazing high registers, I have aimed this edition at a level achievable by reasonably good brass band players who are willing to give time and effort into the proper preparation and delivery of the music. Having worked on this new edition with a top-class brass band, I think it sounds wonderful and interestingly different to the original. Besides the obvious differences of tone-colour and absent high notes, I have used in my scoring, the option for using a vibraphone in place of a celeste. Vaughan Williams, in his Variations for brass band writes for celeste, but because the instrument is quite rare, performances have been mostly given using a glockenspiel- but this, of course sounds two octaves higher than it was intended. I think that vibraphone and brass is an excellent combination and recommend it without hesitation in this piece. Every detail of articulation and dynamic has been considered, so in order to keep the integrity of the music, please do not change anything in the name of "interpretation". As Ravel says- "What is there to interpret?" Ray Farr
Estimated dispatch 5-14 working days
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£137.70Mitt hjerte alltid vanker - Fantasi - Hans Adolph Brorson
This arrangement was commissioned by B3 (The Bergen Woodwind Ensemble). B3 is a large woodwind ensemble located in Bergen with a mix of professional and amateur players. My Heart Remains in Wonder is a well-known Christmas hymn in Scandinavia. I wanted my version to be different to the traditional hymn tune style in which it is normally performed. One day I was outside walking and this idea came to me: an ostinato-like, mechanical skeleton of arpeggio semiquavers on which I could 'hang' the melody. However, I also wanted to do the melody line a bit different. The inspiration for this comes from folk music and the way fiddlers hardly ever lift their bow off the strings when they play. Because of this, it is important that the melody is played in a very sostenuto style in this arrangement. The harmonies lie somewhere between jazz and folk music with a little nod towards Grieg (himself heavily influenced by folk music) in the slow middle section.
Estimated dispatch 5-14 working days
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£39.95The Divine Right (Brass Band - Score only) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£99.99
The Divine Right (Brass Band - Score and Parts) - Harper, Philip
At the time of composing this piece, the Arab Spring was sweeping through the Middle East. It seemed that almost every week a new country's people had risen up against the regimes and dictatorships which had prevailed for generations, leaving many nations at a defining crossroads in their history. There were so many possible ways ahead: so many hopes, yet so many uncertainties.This music is a depiction of these revolutionary times, and several musical themes are in turn presented, discussed, considered, fought over, altered, rejected or accepted.Most nations have had, or probably will have, their own Arab Spring, including the United Kingdom. Events of 17th Century Britain provide the context for this piece, particularly those following the execution of the tyrant King Charles I on 30 January 1649. The regicide was in part due to Charless steadfast belief in the Divine Right of Kings, and led to a tumultuous interregnum, where England stood at its own defining crossroads. The music begins turbulently, before King Charles appears and is led to the gallows outside Banqueting House in central London where he is brutally decapitated. From the assembled crowd rose, according to one observer,a moan as I never heard before and desire I may never hear again.The music descends to emptiness.The musical argument which follows is not strictly programmatic, but a number of musical themes are all thrown into the melting pot, representing ideas such as: religion; military force; reasoned Parliamentary debate; and the chattering, irrepressible voice of the people. Additionally, there are some quotations from the music of royalist composer Thomas Tomkins (1572-1656), who was often in tune with the feeling of the times.This defining episode in England's history was brought to a close with the Restoration of the monarchy in 1660, and as the exiled King Charles II rode back into London the diarist John Evelyn wrote:Never was so joyful a day seen in this nation. I stood in the Strand and beheld it, and blessed God.At the end of the piece the bells ring out, and the musical appearance of the King has transformed from turbulent to triumphant.Duration: 17.00
Estimated dispatch 7-14 working days
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£150.00
Fragile Oasis - Peter Meechan
Fragile Oasis is the name of a collective who describe themselves as aaa grass-roots participatory initiative that connects the shared perspective of astronauts from different countries and cultures with people on Earth, encouraging all to work together so that our planet is not only visibly beautiful, but beautiful for alla.Many involved in the project are astronauts on the International Space Station (I.S.S.), who post, on their website (http://www.fragileoasis.org) many different details of their experiments, photos from space, and some incredible video footage of our Earth.One such time lapse video (a video made up many still images) was posted on their website by astronaut Ron Garan (http://www.fragileoasis.org/blog/2011/11/coming-back-down-to-our-fragile-oasis-2/) in 2011. It is made up of images taken from the I.S.S. of what Garan described as aaa couple of laps around our Fragile Oasis before coming back down [to Earth]a and features all kinds of amazing views from space.Each of the five sections of this work relate to an aspect of the video - either something literal or something more metaphorical. The opening section, i: The lights from Above, is a musical description of the view of the Aurora Australis from above the lights. The second section, ii: The Storm from Above (part i), is also a musical portrayal of portions of the video clip - in this case the many lightning storms we see from above. The storms that are so powerful on Earth appear as small bolts of electricity dancing through the clouds.The third section, iii: Freya, has its roots in personal family tragedy. The name Freya derives from a Norse goddess who was associated with both beauty and love, and in this central section I wanted to write music that not only acknowledged how fragile life itself is, but that every day of it counts and should be celebrated.iv: The Storm from Above (part ii) is a again a reference to the lightning storms, but also to the huge hurricanes we see in the video. It leads us to the final section, v: The Oasis from Above - a description of the size and grandeur of Earth, our Fragile Oasis.Fragile Oasis was commissioned by Leyland Brass Band and Michael Bach, and partly funded by The John Golland Trust, for their appearance at the 2013 European Brass Band Championships in Oslo, Norway. It is dedicated to Natalie Youson, in friendship
Estimated dispatch 12-14 working days
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£69.95
TRANSFORMATION (Brass Band Set) - Kenneth Downie
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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£69.95
Transformation (Brass Band - Score and Parts) - Downie, Kenneth
I believe in transformation, God can change the hearts of men, And refine the evil nature, till it glows with grace again'. So wrote John Gowans in the second verse of his great hymn, 'I believe that God the Father, can be seen in God the Son', written specifically to affirm Salvationists' beliefs. It is sung to the tune Bethany and in seeking to explore this great subject at the heart of the Christian gospel in musical terms, the composer has used this fine tune as the basis. Although it never appears in its entirety, it is seldom out of the picture and much of the work is derived from it. The other main source of material is the lovely, simple chorus, 'Some day I shall be like him, changed to heavenly beauty, when his face I see'. This chorus is especially prominent in the middle section but there are important references to it throughout. There are also brief references to Charles Wesley's hymn, 'Love Divine' and, in particular, the telling lines, 'Changed from glory into glory, till in Heaven we take our place'. The work suggests that, at times, the process of being transformed is a struggle, portrayed with many passages of fraught and demanding music. Considerable reserves of stamina and technique are required while, in contrast, the chorus, 'Some day I shall be like him' provides the warm, gentle centre of the work. The premiere of the work was given by The International Staff Band of The Salvation Army in Cadogan Hall on Friday 3rd June 2011, as part of the band's 120th anniversary celebrations.
Estimated dispatch 7-14 working days
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