Royal Brass Music

SCORE AND PARTS-Repertoire for Brass Ensemble and Organ. Suitable for amateur ensembles and non-professional church musicians.A variety of instrumental parts allow many performance options.The Organ plus Brass series presents original works and arrangements for Organ and Brass choir specially tailored to meet the needs of amateur ensembles and non-professional organists. The pieces may be played by any constellation of Brass Ensemble.Volume IV contains arrangements of church music by Charles Villiers Stanford both chorale-based and freely composed. The original works for Choir and Organ can be appropriately transferred to the festive scoring for Brass ensembleand Organ.Stanford (1852 - 1924) was an Irish born composer teacher and conductor. Following studies at the University of Cambridge he studied music in Leipzig and Berlin before returning to England where he was one of the founding professors of the Royal College of Music in London. He taught composition there until the end of his life.

Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on. / Date parution : 2022-11-29/ Répertoire / Ensemble de Cuivres

Journey of the Lone Wolf tells the story of the hungarian composer Béla Bartók. It was commissioned by Dr. Nicholas Childs for Black Dyke Band who gave the first performance on Sunday 26 January 2014 at the Bridgewater Hall Manchester as part of the Royal Northern College of Music Festival of Brass. The composer's programme notes for each movement: 1. Capturing the Peasants SongAfter the upheaval of moving to Budapest the young Béla Bartók meets Zoltán Kodály and the pair embark on summertime adventures throughout the Hungarian countryside to collect and catalogue theastonishing variety (both harmonically and rhythmically) of gypsy and folk music heard in the Balkans. The arrival of WW1 plunges Bartók's beloved Hungary into chaos.2. Night MusicBartók was at times a cold man aloof and lonely. The odd moments of tenderness he showed are portrayed here in a series of evocative solos. His brief but intense affairs speak of a love he could only long for. Jazz is my night music and here there are hints of what Bartók may have heard in the USA later in his life.3. Flight and FightHaving been forced by the world's evils to leave his homeland of Hungary for America Bartók the anti-fascist felt isolated and angry. In this movement we hear his longing for a simpler time of gypsy folk dances as well as his maturity and depth as a composer finally exploring deeper colours and darker themes.

Prelude on an Irish Folk Tune (?Prélude sur un air irlandais?) est basée sur l'air traditionnel Slane la version hymnique d?une mélodie irlandaise plus ancienne The Banks of the Bann. La mélodie s?imbrique dans la trame musicale vers la fin de la pièce. Publiée pour la première fois en 1909 dans le recueil Old Irish Folk Music and Songs (?Chants et airs irlandais anciens?) de Patrick Joyce cette mélodie traditionnelle tient son nom d?une colline située à environ 16 kilomètres de Tara dans le comté de Meath. Selon un extrait des Confessions de Saint Patrick le saint irlandais aurait allumé le cierge pascal sur la colline de Slane le Samedisaint de l?an 443. Cet acte de défi provoqua la fureur de Laoghaire un roi païen qui avait promulgué un édit interdisant d?allumer un feu autre que le feu royal sur la colline de Tara. Le feu royal célébrait la coutume païenne du retour du Printemps après l?Hiver du triomphe de la lumière (saison claire) sur la pénombre (saison sombre).Dans Prelude on an Irish Folk Tune des fragments de la mélodie font allusion au canevas futur de la pièce. Un autre thème écrit dans le style traditionnel domine le contexte avant de servir de contrechant lorsque la mélodie Slane se dévoile.

In his capacity as staff arranger of the Royal Marine Band of the Dutch Navy this arrangement is one of the best loved by Peter Kleine Schaars' band. Elvis in Concert features the twelve greatest his of 'The King' so musicians won't have time to get bored! In addition this compelling Elvis medley contains delightful moments of recognition for your audience too!

Simon Dobson wrote his 'Four Sketches' at the request of Peter Bossano Head of Brass at the Royal College of Music in recognition of the 25th anniversary of Benjamin Britten’s death. The first movement 'Fanfare' quotes directly from the opening violin melody from Britten’s song cycle Les Illuminations. This melodic line is superimposed upon sonorous Lydian mode chords to project a majestic sound. The second movement 'Prayer' is a definite contrast being and much more reflective and pensive in it’s mood and featuring a dream like euphonium cadenza. The third movement 'Funeral March' builds from a soft chordal opening to a chaotic and confusedfortississimo climax with flourishes in the cornets and pounding tri-tones across the basses before plunging into silence for a flugel cadenza to finish. The final Finale movement is much more positive from the off with its jaunty melodies over a Brittenesque ostinato. The block chordal passages offer a crashing climax making for an exciting conclusion to an excellent new work for the medium. Simon Dobson’s 'Four Sketches' was the winning entry in the European Brass Band Composer Competition held in Brussels in March 2002.

Malcolm Arnold's ballet Sweeney Todd was first staged in 1959 by The Royal Ballet Company with choreography by John Cranko. The music was later adapted as a concert work and it is from this version that this brass band arrangement is made. The original concert suite lasts some 20 minutes but this version has been shortened to a more manageable eight minutes. The first performance of this arrangement was given on the 22nd October 2006 at the Malcolm Arnold Festival Derngate Northampton by the Rushden Windmill Band conducted by Richard Graves. Brass Band Grade 4: Advanced Youth and 3rd Section. Duration 8 minutes.

La plupart des pays ayant institué la tradition des musiques militaires ont développé un style de marche caractéristique. Ainsi il est relativement aisé de distinguer une marche américaine d?une marche militaire française ou une marche allemande d?une marche espagnole. À l?intérieur du cadre structurel rigide d?une marche on réussit à percevoir même les plus subtiles différences de rythme d?harmonie et de tempo qui caractérisent les traditions de chaque pays.Il existe un ou plus exactement deux styles de marche typiquement anglais : celui des marches militaires représenté par des compositeurs tels que Kenneth J. Alford et celui des marches cérémonielles ou de concert quiatteindra l?excellence avec les marches orchestrales d?Elgar et Walton entre autres.Royal Salute (?Salut royal?) est une marche de difficulté moyenne qui perpétue cette grande tradition. On y retrouve des éléments typiques : des mélodies et contremélodies amples et un trio nobilmente.

The Tuba Concerto was composed in 1953/4 after the London Symphony Orchestra invited Vaughan Williams to write a work for inclusion in the Orchestra’s fiftieth anniversary concert. The first performance was given by Philip Catelinet in the Royal Festival Hall London on 13th June 1954 with the London Symphony Orchestra conducted by Sir John Barbirolli.The brass band arrangement is by Phillip Littlemore and is a welcome addition to the brass band repertoire.

March Barnes Wallis was commissioned by Royal Air Force Music Services to commemorate the 70th anniversary of the famous Dambuster’s raid and received its first performance on BBC Radio 2’s Friday Night is Music Night broadcast live from Biggin Hill Airport on 17 June 2013 by the Central Band of the RAF Director of Music Wing Commander Duncan Stubbs.

from Symphony No. 1 - The Lord of the Rings. Johan de Meij?s first symphony The Lord of the Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book. This transcription for brass band, arranged by the composer has the following movements: I. GANDALF (The Wizard), IV. JOURNEY IN THE DARK (The Mines of Moria and The Bridge of Khazad-Dûm), V. HOBBITS. The symphony was written in the period between March 1984 and December 1987, and had its première in Brussels on 15th March 1988, performed by the The Royal Band of the Belgian Guides under the baton of Norbert Nozy. In 1989, the symphony The Lord of the Rings was awarded a first prize in the Sudler International Wind Band Composition Competition in Chicago, and a year later, the symphony was awarded a grant by the Dutch Composers Fund. In 2001, the orchestral version was premiered by the Rotterdam Philharmonic Orchestra and recorded by the London Symphony Orchestra.

This enduringly popular seasonal song has long been a Christmas favourite even though the lyrics don?t mention ?Christmas? at all. The words were by Dick Smith (1901-1935) and the music by Felix Bernard (1897-1944). The inspiration was reportedly a visit by Smith to Honesdale?s (his hometown) Central Park when it was covered in snow.The first recording was made by Richard Himber?s Ritz-Carlton Orchestra in 1934. The same year Guy Lombardo and his band The Royal Canadians took the song to number 2 in the US Billboard Chart where it stayed for 9 weeks. It has since been recorded by over 150 artists the most successful versionsbeing by Perry Como and the Andrews Sisters both released in 1946.