Two Bach fugues arranged effectively for brass quintet by Ian Lawrence. For schools, studios and professionals. Review: "The first of these fugues is from the Magnificat in D and is very grand and imposing in character. The writing for voices and orchestra transcribes very well for brass, especially the big tutti passages in rhythmic unison, which create a very dramatic effect. The individual lines of the fugue are heard with great clarity when played by brass instruments, and yet a richness is achieved when all the instruments are heard playing together. The second fugue is from the motet Jesu meine Freude written (as was the Magnificat) in the year of 1723. It is more florid in character than the rather more stolid first fugue, and creates an agreeable contrast. There is a rousing finish as this beautiful and intricate work reaches its conclusion. For any brass quintet planning a baroque concert, the music of J. S. Bach is an essential ingredient. These wonderful fugues would provide that indispensable element." – Stephen Wick, September 1994. Review: "A good transcription of two short fugues by Bach, and one that features a lot of markings for interpretation. This does not draw away from the music, and they make good sense when followed. This is a good transcription for college and university groups, although professional ensembles will find it useful for school programmes or as a filler." – The Horn Call, September 1994
Ian Lawrence was educated at Queens' College, Cambridge (MA) and Leeds University (PhD). He has published some 30 books, arrangements, compositions and TV scripts and is now living in Cambridge where he hopes to continue producing arrangements.
A beautiful melody for French horn, this famous tenor aria, arranged by Tom Whitehurst, is full of soul, passion and tragedy. Vesti La Giubba - put on the costume and prepare to laugh. For colleges conservatories, professionals, amateurs and community performing groups.
Written for Thames Brass, a successful professional brass ensemble in which the horn player at the time was one of the composer's former students. Having spent much of his life as a horn player, and having also had the honour of working with the finest players, in Movements for Brass the composer explores the sonorities of brass in a way that is rewarding to play.
This attractive brass quintet based on the traditional sea shanty What Shall We Do With The Drunken Sailor opens with a fanfare followed by a main theme, first on trumpets and then on the horn. A series of linked variations follow, with the tune passed between the instruments in constantly changing tempos and styles. A strong rhythmic accompaniment keeps the sea shanty mood and the piece finishes with a showy flourish. Arranged by Eileen Clews, this light hearted work gives each player the chance to show off their instrument, so making it an ideal concert piece or a study piece for brass workshops.
This arrangement by Robin Benton uses just two of the numerous themes from Richard Wagner's overture to his 1868 opera The Mastersingers of Nuremberg. The opening theme represents the Mastersingers themselves. This dignified melody is stated and then developed contrapuntally, leading to the second theme - this theme is used in the opera for the entry of the Mastersingers. The music builds to a climax that introduces a short reprise of the majestic Mastersingers theme, and triumphant fanfares bring the piece to a rousing finish.
Arranged by Tom Whitehurst, this is a joyful and descriptive solo for Tuba, as it tries to emulate the movement of an elephant. For secondary schools, colleges, professionals, amateurs and community performing groups.