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£115.60Han Mass og han Lass
Han Mass og han Lass is a folk tune from Jlster in Norway. The arranger imagine to men sitting telling stories to each other. As the time goes, both exaggeretate more and more...... This arrangement was originally written for brass band, as a commission from the Youth Brass band of the Norwegian county of Sogn og Fjordane.
Estimated dispatch 7-14 working days
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£127.30Lei, milde ljos - Charles Henry Purday
Lead, Kindly Light is composed by the English composer Charles Henry Purday (1799-1885).This arrangement was originally written for Brass Band to Norwegian band Hjrungavg Brass.Purday was appointed conductor of psalmody at CrownCourt Scots Church in Covent Garden, London, in the 1840's, during the ministry of Dr. John Cumming. Dr. Cumming's church was so popular that it was said traffic could not move in Bow Street and Drury Lane for the throng of carriages making their wayto services. Purday was a fine vocalist and had sung at the coronation of Queen Victoria. He became a music publisher, and was a pioneer in the movement for copyright law reform.
Estimated dispatch 7-14 working days
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£60.99Memento - Robert Buckley
Famed bandmaster Arthur Delamont always programmed a hymn in his concerts and Memento is an homage to that proud tradition. Starting with a simple and reverent solo trumpet and introducing other brass instruments one by one, the introduction has the sound of a brass band. The woodwinds join in and, with the use of rich textures and dynamic scoring, the work builds to a powerful climax and then resolves once again with the solo trumpet. Ideal for festival use, Memento will give your ensemble an opportunity to explore expression and nuance. The second movement of A Tribute to Arthur Delamont, Memento was commissioned by the West Vancouver Youth Band.
Estimated dispatch 7-14 working days
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£60.99Postcard from England - Robert Buckley
Postcard from England depicts a trek across the English countryside, with its gently rolling hills, thatched cottages, stately homes, castles and cathedrals. From the catchy walking theme featuring the low brass, percussion andwoodwinds to the elegant stately theme reminiscent of the British brass band sound, every section in the band is featured. Tuneful and descriptive, take your audience on a scenic tour of this historic and charming part of theworld! Dur: 3:45
Estimated dispatch 7-14 working days
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£174.10Opening Night in Las Vegas - Reid Gilje
A very entertaining concert opener in Las vegas-style. An enjoyable piece of music for the band and the audience.The piece was written for Norwegian Brass Band Eikanger-Bjrsvik Musikklag for their participation at the 2019 Siddis Brass competition.
Estimated dispatch 7-14 working days
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£69.99
Festive - Bertrand Moren
Bertrand Moren originally composed this march for the brass band Concordia of Bagnes in Switzerland, of which he is the conductor. Festive develops a sparkling and playful melodic line over a strong theme in the low brass section. This version for concert band is full of vitality and will bring a touch of liveliness to any concert. Festive is also suitable for an outdoor performance.
Estimated dispatch 7-14 working days
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£89.99Pioneers of the Lowlands - Jacob de Haan
This concert march is a tribute to the "pioneers" in the world of brass music in the Lowlands of Netherlands, the original founders of the bands and the people who take the lead in organising the societies and associations in the band movement. Celebrate the joy and friendship of the brass band movement with this truly uplifting march.
Estimated dispatch 7-14 working days
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£60.99Variations on Jerusalem the Golden - Charles E. Ives
For Brass Band of Old Instruments (or modern brass quintet or sextet) and Concert Band. Arranged by Keith Brion. Grades 4-5.
Estimated dispatch 7-14 working days
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£94.99Conzensus - Jan Van der Roost
This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept.The name, ConZEnSus, comes from a combination of the words, 'Concert Cyclus' (concert series) and 'zes' (Dutch for 'six'). This leads to a new word, which refers to 'consensus'. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages.
Estimated dispatch 7-14 working days
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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated dispatch 7-14 working days
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