The Brass Series

This piece won the 1995 Gregynog Composers Award at the Gregynog Music Festival, Wales. It was inspired by Miles Davis's version of George Gershwin's Prayer from Porgy and Bess.

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 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.

Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.

Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.

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.

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.