Results
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£17.50The Covenanters (Brass Band - Score only) - Downie, Kenneth
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£34.95
COVENANTERS, The (Brass Band Set) - Kenneth Downie
In 1638, many members of the Presbyterian Church of Scotland signed a document called the National Covenant. By doing so, they were declaring that they acknowledged only Jesus Christ as the spiritual head of their church, and not any king or queen. This had become necessary because the Stuart kings believed in the Divine Right of Monarchs and saw themselves as head of the church. In the previous year, Charles I had forcibly introduced the Book of Common Prayer, invoking the wrath of the common people who faced the threat of torture, transportation or execution if they did not use the new liturgy and worship at their local church. The net result of this was that many met illegally in the countryside or in barns and large houses. These meetings became known as 'conventides' and many took place in the south-west of the country. Anyone caught attending was at risk of execution by the muskets of the dragoons who were employed in the area for that specific purpose. This music was written to honour the bravery and loyalty of these Christians to their faith, in the face of extreme danger, in the hope that it will inspire us also to be faithful. There are overtones of military threat, secrecy and solidarity. An old pentatonic tune is used, which the composer heard as a boy being sung to the words The Lord's My Shepherd.
Estimated dispatch 7-14 working days
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£34.95
The Southern Cross (Brass Band - Score and Parts) - Bowen, Brian
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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£17.50
The Southern Cross (Brass Band - Score only) - Bowen, Brian
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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£40.00Great Gate of Kiev, The (from Pictures at an Exhibition) (Brass Band - Score and Parts) - Mussorgsky, Modest - Littlemore, Phillip
Modest Mussorgsky was a close friend of the young artist and architect Victor Hartmann, and his death in 1873 plunged Mossorgsky into a deep depression. The following year a memorial exhibition in St. Petersburg displayed Hartmann's paintings, costumes, architectural designs and sketches. Mussorgsky's visit to it, combined with his desire to write a piece in his friend's memory, inspired him to compose his?Pictures At An Exhibition?for piano. A suite of ten movements, with a recurring Promenade theme, it is one of the composer's most famous works and regarded as a showpiece for virtuoso pianists. It is perhaps the orchestral transcription made by Maurice Ravel in 1922 that is now the most famous version of it. This arrangement opens with a brief excerpt from?The Hut on Fowl's Legs, which was based on a painting of an elaborately carved clock depicting Baba Yaga, a horrible tiny witch that feasts on human bones. The tenth, and final picture in Mussorgsky's masterpiece is commonly referred to as?The Great Gate of Kiev, although it's literal translation is The Bogatyr Gates -- a Bogatyr being a hero figure in medieval East Slavic legend. It features a grand main theme that is interspersed with a more solemn hymn-like secondary theme. The work closes with a grand final rendition of the Promenade theme that almost grinds to a halt at what must be the foot of what were to be magnificent ceremonial gates (although they were never actually built!). Duration: 6:00
Estimated dispatch 7-14 working days
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£40.00Magic Flute Overture, The (Brass Band - Score and Parts) - Mozart, Wolfgang Amadeus - Littlemore, Phillip
Mozart's The Magic Flute is a two-act opera composed in 1791, the year of his death. It was the culmination of a period of increasing involvement by Mozart with Emmanuel Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. The Magic Flute is noted for its prominent Masonic elements; both Schikaneder and Mozart were believed to be Masons and also lodge brothers. Much of Mozart's Masonic music is written in the key of E flat. This key, with 3 flats is indicative of Masonic symbolism. There are other examples of the number three in the opera as well. The opening chords of the introduction sound three times, which also happens during the Temple scenes. Also represented in threes are the three temples of Wisdom, Reason and Nature. Tamino tries to open the three doors of the temple. There are three ladies, the attendants to the Queen of the Night, and three boys who serve as guides to Tamino and Papageno. Duration: 6:30
Estimated dispatch 7-14 working days
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£45.00Mars, The Bringer of War (from The Planets) (Brass Band - Score and Parts) - Holst, Gustav - Littlemore, Phillip
Holst's suite The Planets was written between 1914 and 1916 and with the exception of Mercury, which was written last, Holst wrote the music in the sequence we hear them. So, in 1914, came the insistent rhythmic tread of Mars, The Bringer of War. It is widely known that the sketches were completed prior to the outbreak of the First World War, so the music is less a reaction to the declaration of war itself, but more an impending sense of inevitability of a war to unfold. An ideal concert opener, especially in this current year as it is not only the 100th anniversary of the piece itself, but of The Great War. Duration: 7:20
Estimated dispatch 7-14 working days
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£33.67A Century of Art (Brass Band) Robbert Vos
A Century of Art was composed for Brass Band Kunst naar Kracht from the town of De Goorn (The Netherlands) for its 100th anniversary in 2022. A version for Fanfare Orchestra was commissioned by the Fanfare Project Orchestra in 2023. The title of the work refers to Brass Band Kunst naar Kracht's 100-year existence and the array of art that has been created in that time. A Century of is a flashy and virtuosic opening work where melodic lines are combined with other surprising compositional elements. You can hear, among some references to some famous brass band test pieces, a quote from Lohengrin by Richard Strauss. A transcription of Lohengrin was used at the 1922 British Open in England, one of the most famous brass band competitions in the world, the same year as Brass Band Kunst naar Kracht was founded. To view a performance by Fanfare 'Project Orkest' of the work please visit www.youtube.com/watch?v=D6zuoaxf_kg (please note this is the Fanfare Band version, although it is essentially the same). Duration: 4.00 minutes Difficulty Level: 2nd Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk 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 BbTimpani Percussion 1-4
In Stock: Estimated dispatch 1-3 working days
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£35.00
The Pohutukawa Stands - Peter Meechan
The earthquake that hit Christchurch in February 2011 took the lives of 181 people. Being asked to write this work in their memory was an honour, but I didnat want it to simply be performed as a memorial. I wanted to compose a work that conveyed the sadness and grief for those lost - a work of remembrance - but also a piece of music that represented peace, hope and strength.The title and dedication come direct from the commissioners of the work, Woolston Brass Band. The Pohutukawa Trees stay standing and secure, defiant of the earthquake, in Christchurchas aGarden Citya, and the Pohutukawa tree also has special significance beyond their physical appearance.According to Maori mythology, the spirits of the dead travel to Cape Reinga on their journey to the afterlife to leap off the headland and climb the roots of the 800 year old Pohutukawa tree and descend to the underworld to return to their traditional homeland of Hawaiiki-a-nui, using the Te Ara Wairua, the 'Spirits' pathway'.The Pohutukawa Stands is dedicated to the lives lost in the Christchurch earthquake.
Estimated dispatch 12-14 working days
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£34.95
SOUTHERN CROSS, The (Brass Band Set) - Brian Bowen
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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