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£90.00
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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£38.95Unity Series Band Journal - Numbers 518 - 521, June 2023
518: March - A Christmas cavalcade (Morgan Juel Stavik)This march contains several Christmas carols and songs. Some are easy to recognise and are identified in the score, while other references are more subtle.519: Christmas bossa nova (Kevin Larsson)Using Jingle Bells, The First Nowell, It came upon the midnight clear and Ding dong! merrily on high, here is a great bossa nova to liven up your Christmas concert.520 (1): In te Domine speravi (Des Prez trs. Zachary Docter)This piece is a transcription of an early 16th century choral work by the Renaissance composer Josquin des Prez. Josquin was a well-known and highly regarded composer in his day. Like many composer of this period, Josquin wrote linearly, valuing independent free-flowing lines over vertical harmonies. As a result, the interlocking counterpoint in this work can be quite complex and the tied rhythms challenging.520 (2): Excerpt from 'Vespers' (Rachmaninoff trs. Andrew Poirier)Sergei Rachmaninoff's setting of the All-Night Vigil (Vespers) Op.37, of which this excerpt is taken, was composed in January and February 1915. The outbreak of World War I in August 1914 took many people by surprise, and to Rachmaninoff it was a severe shock. This compelled him to write a piece that reminded him of his childhood and the importance of the Russian Orthodox Church within the national identity of Russia. The excerpt transcribed here has a quality and enigmatic charm that never fails to move the souls of those that listen to it.521: March - Walk of faith (Stanley Makau)This march introduces Stanley Makau to the band journals. Stanley is currently the Deputy and Youth Bandmaster at Quarry Road Citadel Corps in Nairobi, Kenya. His inspiration for the march primarily came from Psalm 91: 11-12, and the march is in keeping with the traditional style that has been a staple for Salvation Army music-making.
Estimated dispatch 7-14 working days
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£95.00Variations on a Theme of Michael Tippett (Brass Band - Score and Parts)
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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£40.00
Variations on a Theme of Michael Tippett (Brass Band - Score only)
A Centenary Tribute by Michael Ball, Edward Gregson, Elgar Howarth, Bramwell Tovey and Philip WilbyThis unique 'pice d'occasion' arose out of a telephone conversation in 2004 with Alan Wycherley, who was the soprano cornet player of the Foden's Richardson Band at the time. He indicated that the band would like to include an original birthday tribute for Edward Gregson (60) and Elgar Howarth (70) in its concert at the 2005 RNCM Festival of Brass in Manchester. I have been Artistic Director of Manchester's Festival of Brass since it was established in 1990 as a BBC Radio 3 series, As the centenary of the birth of Sir Michael Tippett fell on 5 January 2005, I devised this collective work as a way of embracing all three anniversaries in a novel way.The idea of joint compositions is not a new one in the classical music world. In the 1860s, Verdi was joined by a number of his contemporaries in a Requiem Mass for Rossini. In this country there have been a number of orchestral examples over the past fifty years, but never before for the brass band. Although Tippett composed only one work for brass band, Festal Brass with Blues, his orchestral works and operas are full of idiomatic brass writing. The theme I chose for this celebration is one of Tippet's most memorable miniatures featuring wind and brass. In the opera Midsummer Marriage it marks the entry of the Ancients. It is also included in the orchestral Suite in D (1948), for the Birthday of Prince Charles.I invited five of the leading contemporary voices in brass band music to add their own creative perspectives to the little Tippett theme, with it's characteristic rhythms, embellishments and modality - the Lydian mode. Each contribution was designed to fit into a tonal and formal template to give the whole work a flow and continuity. In Danse des Amis, Bramwell Tovey has composed a jazzy, humorous variation. Inspiration came from Tippett's love of jazz and, more personally, from the characteristically syncopated gait of the distinguished music critic John Amis, who Tovey once observed leaving a performance of Tippett's opera King Priam before the end. Incidentally, that performance was conducted by Elgar Howarth.We hear Edward Gregson in lyrical mode. His Midsummer Song is redolent of the sound world of Tippett's opera A Midsummer Marriage and it ends with a brief reference to a favourite of Gregson's, Tippett's Concerto for Orchestra. Michael Ball provides a brief moment of light, airy activity bringing to mind perhaps Tippett's love of Shakespearian fantasy, especially The Tempest. Elgar Howarth juxtaposes a slowed down version of the processional theme with distant recollections of fanfares from King Priam. Philip Wilby has rounded the tribute off with a spectacular fugue. During its inexorable progress Wilby ingeniously introduces the two other birthday references - the three-note musical signature that Elgar Howarth includes in much of his music and the characteristic theme which begins Edward Gregson's substantial work for brass an organ The Trumpets of the Angels. An elaborated reprise of Tippett's little theme is followed by a dynamic coda.- Paul HindmarshDuration: 13.00
Estimated dispatch 7-14 working days
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£89.95Tuba Concerto (Score and Parts)
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.
Estimated dispatch 7-14 working days
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£33.53E lucevan le stelle (Cornet/Euphonium Duet with Brass Band) Puccini arr.Bushnell
Tosca is an opera in three acts by the Italian composer Giacomo Puccini. The opera is set in June 1800 in Rome, and tells the story of the Kingdom of Naples and the threat to its control of Rome by Napoleon's invasion of Italy. Some of Puccini's best-known arias can be found in Tosca. The opera is based on Victorien Sardou's dramatic play of the same name (La Tosca). Puccini saw the play at least twice in 1889 and begged his publisher, Giulio Ricordi, to obtain the rights to turn it into an opera, which were secured in 1891 - although Puccini relinquished the rights to Alberto Franchetti before being recommissioned in 1895. Puccini wrote "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music." It took four years to write, with Puccini arguing with his librettists (Luigi Illica and Giuseppe Giacosa) and his publisher. Although the first performance was delayed by a day due to the unrest in Rome at the time, the opera was premiered on 14 January 1900 at the Teatro Costanzi in Rome. The critics reviews were indifferent, but it was an immediate success with the public. The opera is through-composed, with the different musical elements weaved from piece to piece. Puccini used the Wagner's leitmotif concept to identity different parts of the opera. Taken from Act 3, E lucevan le stelle is sung by Cavaradossi, a painter, who has fallen for the singer Tosca. The corrupt Chief of Police, Baron Scarpia, longs for Tosca himself and, upon suspecting Cavaradossi of helping a political prisoner escape, he takes the opportunity to get rid of Cavaradossi and blackmail Tosca into being with him. The guards lead Cavaradossi to the roof of Castel Sant'Angelo, where he is told he has 1 hour to live before being executed. He asks to write a letter to Tosca, overcome by memories, he sings E lucevan le stelle (And the stars shone). It was selected by the tenor Wynne Evans as one of the most romantic songs for his top ten arias for Classic FM. He described it as "another tenor classic, both tragic and beautiful." This arrangement (for cornet and euphonium duet with brass band) includes alternative parts for horns in F and lower brass in bass clef. A recording of the original song can be found here: www.youtube.com/watch?v=EAqHQMX7GHY
In Stock: Estimated dispatch 1-3 working days
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£59.62Horizon: The Promise of the Lord (Brass Band) Andrew Wainwright
Horizon: The Promise of the Lord was written at the request of Bandmaster Stephen Cobb for The International Staff Band. It is based on the much loved hymn of the church, Cwm Rhondda (Guide me O thou great Jehovah). The work was recorded on the ISB's CD Manuscripts II (released 2023). This highly descriptive piece will be an excellent addition to concert programs, as well as being appropriate as a test piece. The inspiration for the work comes from the book of Exodus. Whilst the music is not intended to be directly programmatic, like the hymn Cwm Rhondda, the work takes the listener through the Exodus from Egypt to the promised land of Israel as a metaphor of the spiritual pilgrimage of the individual Christian through his or her earthly life. The music aims to evoke a sense of God's guidance through strife and affirm the reality that God provides for us and redeems all the wrong in the world. This God who provided for the Hebrew people wandering amidst 'barren lands' with 'bread of heaven' is still and ever will be a God of provisional grace. Through listening to the music, it is the composer's intention that we are reminded of God's promise of Deliverance as set out in Exodus 6 v7-8: 'I will take you as my own people, and I will be your God. Then you will know that I am the Lord your God, who brought you out from under the yoke of the Egyptians. And I will bring you to the land I swore with uplifted hand to give to Abraham, to Isaac and to Jacob. I will give it to you as a possession. I am the Lord.' Like the hymn, Horizon: The Promise of the Lord is intended as a prayer for guidance. The Christian is a pilgrim through 'this barren land'. The music is often chromatic and in large parts verging on atonality, as a reflection of the strife that the Israelites endured in their 40 years in the wilderness. However, it ends in climactic fashion with the Hebrew people finally reaching their destination after many years of wandering in the desert - as they approach the 'Horizon' promised by the Lord. To view a performance of the work by the National Youth Brass Band of Great Britain please visit www.youtube.com/watch?v=LjOHf7QEw1g PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 1st Section + Length: c11.00 minutes Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
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£37.26The First Nowell (Brass Band, opt. Choir & Piano) Traditional arr. Barrie Gott
This charming setting by Australian composer Barrie Gott is of the favourite carol The First Nowell. Although this version is for brass band, choir and piano, it is orchestrated such that it will work for standalone brass band. The arranger writes: 'I have always been fascinated with the words and music of this majestic carol. It was first written for choir and piano and then orchestrated for the Brisbane Lord Mayor's Carols with the Queensland Pops Orchestra. A further arrangement for brass band was prepared for a Salvation Army event. The setting is for four verses (1,2,5 and 6) and tells the Gospel story in a nutshell. It starts very simply and builds to a spectacular climax.' To view a rolling score video of this work please visit www.youtube.com/watch?v=2KH6u0MUiaY Duration: 4.45 minutes approx. Difficulty Level: 3rd Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk or www.durhammusicshop.co.uk (UK) or www.cimarronmusic.com (US) Instrumentation: Soprano Cornet Eb Solo Cornet Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass BbTimpani Percussion 1-2 SATB Choir (optional) Piano (optional)
In Stock: Estimated dispatch 1-3 working days
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£34.95Fire & the Phoenix, The - Christopher Bond
The Fire & the Phoenix (2015) was commissioned by Brett Baker in early 2015 as the opening track to his solo CD 'Myths & Legends'. Whilst structurally a single-movement work, it is presented so that it can link directly into the next work on the CD, adding to a continuous theme comprising a number of pieces from a number of composers. Opening with huge strident chords in the full band, the representation of the phoenix is instantly reflected; bold, powerful and a bird of great intensity. This makes way for a more mystical section marked 'distant' which reflect the beauty of the Phoenix and it's mythical nature where the trombone soars up into its higher register with a sweeping melody. Soon after, the music takes a sharp turn, becoming dramatic and instantly moving away from the mystical mood created previously. Here, we imagine the Phoenix catching fire, burning intensely with huge flames as it gradually turns into ash. We reach a tonic pedal point in the music, over which chord progressions subtly weave in and out of the texture. Here, we imagine the Phoenix rising from the ashes, with the dynamics gradually increasing to reflect this, slowly taking shape as it is born again. A return to earlier material follows, this time manipulated to reflect the Phoenix in its new form - the same bird; the same animal; but at the same time different. A beautiful chorale-like passage is heard before the music transports us back into a magical land, where delicate rhythmic ideas are juxtaposed against bolder lower chords; both ideas together transporting the listener forward into the next piece.
Estimated dispatch 10-14 working days
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£132.00
Myte - Torstein Aagaard-Nilsen
Commissioned by Radoy Brass for their 20 years anniversary.This version was first performed by Manger Skulemusikklag in 2005.The Work is devided into Five Scenes:1. Sverdet (The Sword) 3:452. Advarsel - fra en vis mann (Warning - from a Wise Man) 2:303. Dragen (The Dragon) 3:004. Advarsel II - fra syngende fugler (Warning II - from singing birds) 1:355. Gull - forbannelsen (Gold - The Curse) 2:50Total durata 13:30This work is based on five scenes from the tale about "Sigurd Favnesbane" (Sigurd the dragonslayer). Moods and atmospheres in the piece represent my way of retelling the old myth.1. The SwordThe dwarf blacksmith Regin is hammering and sharpening the edges of the magical sword Gram. After three attempts the sword is finally sharp enough to kill a dragon. 2. Warning - from a Wise manRichard Wagners opera Sigfried is based on the same story. In the opera the hero get warned by a wise man. He tells the secret of how to survive an attack of the dragon by hiding in a hole in the pathway and then kill the dragon with the sword as the dragon passes on its way to the river to drink water.3. DragonThe Dragon (Favne) guards a fantastic treasure, but he is also the brother of the blacksmith Regin. Favne get killed and his blood flows slowly while he laments (trombone/bass trombone).4. Warning II - from singing birdsWhile frying the heart, Sigurd burns his thumb and put it into his mouth to cool it down. Then he swallow a drop of fresh magic dragon blood which transfers the ability to understand the birdlanguage. The birds sing warnings to Sigurd telling him that Regin will betray him and later kill him. Sigurd then kills Regin instead.5. Gold - the CurseSigurd takes the gold treasure and escapes on the horseback of Grane. But his robbery of the gold lead him into trouble: The gold is banned and a curse will hit everyone whotakes it...Myth is a programmatic work where the story is quite clearly illustrated throughout the piece:In the first movement you can hear the blacksmith working with hammer on ambolt while the heat is intense from the glows. The dwarf has got his own theme i lower brass (bar 4-5). The hero Sigurd has his own identifying chord (2 bars before F). The chord is also a symbol of the sword.In the second movement the warning from the wise man is expressed in the lyric bass line.The airblow in instruments illustrate the dragon Favne on his way out of his cave, and later the blood flows slowly. The dragon takes his last deep breath after a painful duet in trombones. The birds sing their motifs (lightly, but not cheerful though), until Sigurd cuts the head off Regin and it hits the ground.The last movement describes the atmosphere andstate of mind as the curse infects the obsessed thief.
Estimated dispatch 7-14 working days
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