Category: TEST PIECES (Major Works) Composer: Thierry Deleruyelle
Set as the Third Section Test Piece for the 2019 National Finals of the British Brass Band Championships.
Duration 10.40 Grade 3.5
The Viking age lasted from the late eighth, to the middle of the eleventh century. During this period, Scandinavian warriors and merchants explored, plundered and left their mark on numerous territories. This work is based on a series of four notes that appear in different forms, consisting of 4 movements: Northern Men, Explorer, Raids and Heritage. It is an impressive and spectacular piece, with lots of interesting and playful parts for all sections. This is a perfect contest piece or an outstanding work for thematic concerts.
Categories: SUMMER 2020 SALE TITLES, TEST PIECES (Major Works) Composer: Dan Price
Normally £64.95 - only £59.95 in our SALE - limited stock.
Set as the Fourth Section Test Piece for the 2015 National Finals of the British Brass Band Championships in Cheltenham in September.
This work paints an historical musical portrait of the small town of Briton Ferry ( Llansawel) on the mouth of the river Neath, South Wales. The area was heavily developed during the industrial revolution and became an important location for steel and tin plate production.
Although written as a continous piece of music, the work is divided into four sections :
Visions paints a historical musical portrait of the small town of Briton Feny (Llansawel), located at the mouth of the River Neath in South Wales. Once a rural area, it was heavily developed during the industrial revolution, serving as an important centre for the production of steel and tin plate. Although a continuous piece of music, the work is divided into four sections:
Briton Ferry: The work opens with a three note ‘motif’ on solo baritone which becomes the basis material for the majority of the work. After a tentative and reflective opening, the Briton Ferry theme emerges on solo euphonium. This is lush, romantic almost melancholic music depicting a view of Briton Ferry from the mountain side. The mixture of natural ‘rugged‘ beauty in juxtapose with heavy industrialism, all nestled around the snake-like River Neath. At letter D, the second theme is introduced on Flugel Horn which is playfully moved around the other solo voices in the band. This is a musical representation of the river which runs through the heart of the town. Its accompaniment swells and falls like the tide as it makes its way slowly out towards Swansea Bay and into the sea.
Brunel’s Vision: Figure F sees a change in mood and direction. A musical change to represent the momentous historical change brought about by engineers Isambard Kingdom Brunel and his father Sir Marc Brunel. The building of the Briton Ferry floating Docks in the 1850‘s by Marc Brunel and the development of the railway infrastructure by his son enabled Briton Ferry to become a key part of industrial production for iron, steel and tinplate right through until the 1970s. This industrialism should be brought through the music via percussive rhythmic playing and a depth of sound. Throughout this section, the band should endeavour to evoke images of hammers on metal and mechanical sounds. Brunel’s theme derives from the opening motif and is introduced by the baritones and euphoniums. The river shows its importance to the development of the town again at letter H (tenor horns) while the flugel horn tries to hold on to rural roots. Four bars before J there is a glimpse of the South Wales Mineral Railway.
Giant's Grave: After the close of World War II, Briton Ferry Docks were used for the breaking up of decommissioned warships. The area became known, and is still known as 'Giant’s Grave'. There is a return to the opening polychordal writing and sparseness of sound. The music has an intentional sense of abandonment that signifies the area as it is today: the clocks are no longer there in their full splendour and only the echoes and memories of what has passed are left to mix with the sounds of wildlife. Six bars after figure O the music evokes the memories of the warships slowly passing up the river on their journey to their final destination. The river theme again is quoted at letter Q (this time on trombones) which then flows into a reprise of the Briton Ferry theme at figure R and a reminder of the rural roots of this area.
Hen Gastell: Prior to the industrial age, Briton Ferry always had an important role as a river crossing point. It was the first river crossing along the Roman road that followed the coastline through South Wales. While the river crossing was usually made by ferry boat, it is also possible on foot via a ford close to the ferry route using stepping stones at extreme low tide. With this crossing being geographically important, it was thought that it would have been fortified at some point in history and in the 1970s a small steep sided hill on the west of the river near Briton Ferry was identified as being the possible location of Hen Gastell (Old Castle) built by Morgan ap Carodog ab lestyn, The Welsh Lord of Afan in the second half of The 12th Century. AlThough the top of the hill had been removed by quarrying in The 1930s and 40s, sufficient evidence was found to confirm The 12th Century site and a previous settlement in the 6th Century. The music for this final section is full of military fanfare and gusto and has a distinctly medieval flare about it in an attempt to portray some kind of fortification in the town, (the bass section solo giving a foreboding view of the castle perched high on the hill). As the River Neath has always been present through historical and geographical development of Briton Ferry, so too has it become important in the development of the music and the 'river theme' (rather than it swelling accompaniment motif as it has appearing in sections two and three) now appears at figure W as a chorale, interlocking all four sections together. As The movement ends, the River is heard passing the Old Castle and finally out into Swansea Bay.
Category: TEST PIECES (Major Works) Composer: Dan Price
Set as the Fourth Section Test Piece for the 2015 National Finals of the British Brass Band Championships in Cheltenham in September.
This work paints an historical musical portrait of the small town of Briton Ferry ( Llansawel) on the mouth of the river Neath, South Wales. The area was heavily developed during the industrial revolution and became an important location for steel and tin plate production.
Although written as a continous piece of music, the work is divided into four sections :
Category: TEST PIECES (Major Works) Composer: Alexander Comitas
Variations and Fugue on an Original Theme opus 62
Introduction by the composer In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.
In 2010 I was commissioned to write a piece for the Koninklke Fanfare Sint Caeciliaç from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf. As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title,
I had the feeling that the lyrical theme of this piece would sound very well for Brass Band, so I decided to use it as a starting point. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.
As a result, the Vita Aeterna Variations have the sort of rudimentary program’ that many composers from the past have wisely kept to themselves. Here it is:
Introduction and Theme. Adagio - Tentative beginning of Life. Variation I. Allegro energico - Full of vital energy. Variation II. Tempo di valse in modo subdolo - Evil seeks to seduce and gradually succeeds. Variation Ill. Allegro tempestuoso - Fate strikes. Variation IV. Largo - Despair. Variation V. Adagio - Redemption. Variation VI. Tempo di marcia -Gradual return of life power. Finale: Fugue and Apotheosis. Allegro vivace. - Boisterous, overflowing with vitality and delight in the beauty of life.
Category: TEST PIECES (Major Works) Composer: Alexander Comitas
Variations and Fugue on an Original Theme opus 62
Introduction by the composer In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.
In 2010 I was commissioned to write a piece for the Koninklke Fanfare Sint Caeciliaç from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf. As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title,
I had the feeling that the lyrical theme of this piece would sound very well for Brass Band, so I decided to use it as a starting point. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.
As a result, the Vita Aeterna Variations have the sort of rudimentary program’ that many composers from the past have wisely kept to themselves. Here it is:
Introduction and Theme. Adagio - Tentative beginning of Life. Variation I. Allegro energico - Full of vital energy. Variation II. Tempo di valse in modo subdolo - Evil seeks to seduce and gradually succeeds. Variation Ill. Allegro tempestuoso - Fate strikes. Variation IV. Largo - Despair. Variation V. Adagio - Redemption. Variation VI. Tempo di marcia -Gradual return of life power. Finale: Fugue and Apotheosis. Allegro vivace. - Boisterous, overflowing with vitality and delight in the beauty of life.
Categories: TEST PIECES (Major Works), NEW & RECENT Publications Composer: Todd Smith
Duration: 16.50
Difficulty: Very Difficult
Vita Destructa gains it title from the devastating February 2011 earthquake that hit Christchurch, New Zealand. The Christchurch area was severally damaged, 185 lives were lost and many more were severely injured. The piece contrasts violent, original music with
various transformations of the hymn tune Abide with Me in order to depict the events of the earthquake. The musical narrative embodies the underlying experiences of life in the midst of natural disaster, and show mans ability to rebuild and recover from such events.
Commissioned by Professor David King for National Australia Brass in recognition of the work done by Dame Adrienne Stewart, a longtime Christchurch resident, on behalf of the arts across Australia and New Zealand.
TODD SMITH(1996)
Todd Smith is currently a New Zealand based brass band composer. Ever since starting to learn brass instruments at age 9, Todd has always had an interest in composing. After enjoying many years of success in New Zealand as a euphonium player, it wasn't until 2013 when he received his first commission for a major work, 'Vita Destructa'. Since the premier of the work Todd has become a sort after composer in the Australasian area, becoming the Composer-in- Residence for Footscray Yarraville City Band of Australia, and becoming Associate Composer for National Australia Brass. He also has worked closely with the world famous Brighouse and Rastrick Band, with them providing world and UK premiers to two of Todds major works - 'Vita Destructa' and 'Inferno'. Although young, his talent surpasses his years as he continues to prove himself as a composer who can stand up among the very best.
Category: TEST PIECES (Major Works) Composer: Paul Lovatt-Cooper
Set as the First Section Test Piece for the 2014 Butlins Mineworkers Contest.
Vitae Aeternum represents the first substantial composition conceived by Paul Lovaft-Cooper in his capacity as Composer in Residence’ to the world famous Black Dyke Band. Vitae Aeternum meaning ‘Eternal Life’ takes its inspiration from songs composed by Ivor Bosanko and Dick Krommenhoek and is in three continuous movements.
The first begins in exhilarating fashion featuring bold pedal lines combining with syncopated rhythms and spirited motives. As the music builds in dynamic and excitement quotations from the aforementioned songs can be heard in various guises often combining with florid obligato and rhythmic figures before the first movement reaches its climax and the style transforms in preparation for the lyrical music to follow.
With the change of key comes a new beginning as vibrant bells are answered with gentle sonority before muted comets and trombones begin a distant and hauntingly beautiful chorale. Following solo lines from the flugel horn and euphoniums the music grows in richness and intensity until the flugel horn brings the music to an atmospheric close.
The final part of ‘Vitae Aeternum’ begins with an energetic and agile solo cornet line joined by various other soloists before the music builds into a tour de force finale. Using a variety of quotations in juxtaposed styles the music becomes heroic and emotive leading to a grandioso close of majestic proportions.
Vitae Aeternum was commissioned by Gerard Klauke of GK design and received its world premiere by Dr. Nicholas Childs & the Black Dyke Band at De Lawei Concert Hall in Drachten, Netherlands on August 25th 2007. It later formed the finale to Brighouse & Rastrick’s ‘2007 Brass in Concert’ winning programme and has since been embraced by other leading ensembles worldwide hcluding the International Staff Band of the Salvation Army and the Cory Band.
The songs used in ‘Vitae Aeternum’ are listed below and are published in their original entirety by Salvationist Publishing & Supplies Ltd.
About the Music Three Salvation Army songs are featured in Vitae Aeternum:
1.God came in Jesus to live among us; God came in Jesus to live among us was composed by Colonel Dick Krommenhoek of the Netherlands and is mostly used at Christmas time: God came in Jesus to live among us And he lit the light of hope again. True light, true hope to fill our yearning; The Light that will for ever reign.
2.I will praise you, Lord, with all my heart . I will praise you, Lord, with all my heart was also composed by Colonel Dick Krommenhoek and is taken directly from Psalm 9:1 & 2:
I will praise you, Lord, with all my heart; I will tell of the wonderful things you have done. I will sing with joy because of you. I will sing praise to you, my God.
3.His Provision. His Provision was composed by Ivor Bosanko. The music depicts the prayer written by retired General of The Salvation Army, John Gowans:
Holy Spirit! Promised presence fall on me. Holy Spirit! Make me all I long to be. Holy Spirit! Holy Spirit! Give your power to me, 0 Holy Spirit.
Paul Lovatt-Cooper is ‘Composer in Residence to the Black Dyke Band. He was born on Alderney in the Channel Islands and raised in the Salvation Army with his parents who were Officers. As a student he studied composition with Peter Graham whilst at the University of Salford. Paul has enjoyed performances of his works all over the world, including world premiers in the UK and in countries such as Ireland, Holland, Belgium, Switzerland, New Zealand, Japan, Australia, and The United States. His works have been performed in some of the world’s finest concert halls including Birmingham’s Symphony Hall, Manchester’s Bridgewater Hall, Perth’s Concert Hall, Cardiff’s St David’s Hall, Holland’s De Lawei Concert Hall and London’s Royal Albert Hall.
He is fast becoming a sought after composer, gaining commissions from bands throughout the world, Paul has also been commissioned to write for international soloists such as David Childs, Brett Baker, Owen Farr, John Doyle and Richard Marshall. Paul currently combines the position of Head of Music at Wardle High School Performing Arts College with his love for composition.
Category: TEST PIECES (Major Works) Composer: Tom Davoren
Set as the 1st. Section Test piece for the National Finals of the 2012 British Brass Band Championships.
Please note that this work will not be in print until June - but you can pre-order your set and score right now, so that as soon as they become available they will be sent directly to you.
Commissioned, in celebration of Her Majesty Queen Elizabeth II’s Diamond Jubilee, by Kapitol Promotions Ltd., for the 2012 National Championships of Great Britain, first section final.
The work is split into three contrasting sections that run continuously, with music derived from elements of Sir Hubert Parry’s 1902 coronation anthem I WAS GLAD .
I. In Memoriam
II. Coronation
III. Jubilate
1. IN MEMORIUM evokes the noble but gentle personality of the Queen’s father, King George VI. Opening with an atmospheric baritone solo (and later featuring solo horn, flugel horn,euphonium & solo cornet), the music explores themes of grief, sentimentality and hope.
2. CORONATION, a fanfare and subsequent theme which is grandiose in style, capturing the spirit and excitement of British pomp and ceremony.
3. The closing JUBILATE is a celebration of life and family values, Vivat being latin for life, or long live. The music passes through moments of tension, virtuosity, humour and jubilance before a finale constructed from connected musical fragments, drawn from throughout the work, form (for the first time) Parry’s majestic I WAS GLAD theme.
NOTE ON MUTES: Where mutes are required but no specific type is indicated,the choice is left to the conductor to decide for the best colour and balance.
Category: TEST PIECES (Major Works) Composer: Tom Davoren
Set as the 1st. Section Test piece for the National Finals of the 2012 British Brass Band Championships.
Please note that this work will not be in print until June - but you can pre-order your score right now, so that as soon as it becomes available it will be sent directly to you.
Category: TEST PIECES (Major Works) Composer: Robert Simpson Difficulty level: Championship
Duration 12.00
Previously used as a Championship Section testpiece.
One of the composer's most enduring works, Volcano was written for the National Brass Band Championships of Great Britain in 1979. The composer writes: ""While it is, of course, possible to listen to this piece with the erruption of a volcano in mind, it is also possible to interpret the title in a figurative sense – that is to say, as one might refer to a 'volcanic temperament'. Alternatively, some may prefer to listen to is simply as a piece of music. I would recommend the latter.
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