Bagatelle No. 25 in A minor for solo piano, commonly known as "Für Elise" is one of Ludwig van Beethoven's most popular compositions. It is usually classified as a bagatelle, but also sometimes referred to as an Albumblatt. The composition was not published during Beethoven's lifetime, having been discovered by Ludwig Nohl 40 years after the composer's death. The identity of "Elise" is unknown. Mike Lyons has arranged it for Brass Ensemble and has provided parts for different pitched instruments.
This Kyrie from Mass for 4 voices was written by William Byrd.
The Mass for Four Voices is a choral Mass setting by the English composer William Byrd (c.1540–1623). It was written around 1592-3 during the reign of Queen Elizabeth I, and is one of three settings of the Mass Ordinary which he published in London in the early 1590s.
Parts are included for Treble Clef Euphoniums and Eb Basses
The anthem was written at the request of William Laud, who was President of St John's College, Oxford from 1611-1621; the St John to whom college is dedicated is John the Baptist. It was written for the college chapel, and presumably received its first performance there. According to Morris, the earliest known extant manuscripts of the anthem date from the 1630s, a decade after Gibbons' death. They are located at major English cathedrals and chapels, as far from Oxford as Durham, suggesting that the anthem enjoyed wide use when first written. It is included in a number of modern publications, including the Oxford Book of Tudor Anthems.Here it is in an arrangement for Brass Quintet. Dynamics can be added although the performance is better suited to a constant mf.
While Palestrina's posthumous reputation as a liturgical composer is due more to his hundred-and-four masses than to his work in any other form, the fact that the vast majority of his sacred Latin motets were published during his lifetime (a distinction the masses cannot claim) seems to indicate that, as far as his contemporaries were concerned, that particular facet of his musical imagination was paramount; indeed, it was on the basis of his over 250 motets that he earned the lasting nickname "Prince of Music". Yet it is unfair to separate these two areas of musical achievement completely, since in many cases Palestrina used his own motets as models for later parody masses. Such is the relationship between the Missa veni sponsa Christe, published (posthumously) in 1599, and the four-voice motet Veni sponsa Christe from Palestrina's very first published collection of sacred motets, the Motecta festorum totius anni cum Communi Sanctorum...liber primus of 1563. "Veni sponsa Christe" is both one of Palestrina's earliest motets and one of his most succinct, comprising just one pars ("section"--many motets are divided into a prima pars and a secunda pars) and lasting just sixty-seven bars (in modern notation). The text is equally brief: Veni sponsa Christe, accipe coronam, quam tibi Dominus praeparavit in aeternum. Eng: Come, betrothed of Christ, and accept the crown which the Lord prepared for you before time itself began. As tradition demands, each of the individual clauses of text (the first three separated by commas, the last being a division between "Dominus" and "praeparavit") generates its own unique melodic material, repeated internally to produce something very like an AaBbCcDd form. The initial melodic gesture, imitated at the interval of one measure, is used as the basis for a great deal of the Missa veni sponsa Christe--compare, for instance, the first ten measures of "Kyrie I" from the Mass with the opening of the present motet. A syncopated subject (compare to the "Christe eleison" portion of the Mass) arrives with "accipe coronam", and soon touches on the motet's melodic high-point. "Quam tibi" is given out in a new imitative exposition (the C section, occurring just past the midpoint of the motet-roughly where we would expect to find the beginning of "secunda pars" in a longer piece) on a subject that uses three repeated notes as a rhythmic pickup (compare to the "Kyrie II" of the Mass), while another syncopated theme comes in to bring the motet to a round G major close.
Here is an arrangement of Monteverdi's gorgeous madrigal Amor for double brass choir. Lamento della Ninfa (the Nymph’s Lament), written anywhere between 1614 and 1638, year of its publication in the Eight Book of Madrigals, is one of the most known and appreciated compositions of Monteverdi.
Parts are included for various brass instruments in Eb and Bb.
It's a jolly little number in 8/8 (3+3+2) (although the TS is shown as 4/4 for ease of reading. It's built around a little calypso-like theme that came to me one morning, early. Originally written for Bassoon Quartet (Available in this store) this arrangement can be tailored to what ever low brass you may have. If you need a different arrangement please email.Each part gets a bit of the tune and there's some lovely deep bass notes for the bottom part.
Beautiful piece for brass quintet written and arranged by Jeff Thorpe. If you need instruments of different pitch email me when you have purchased and I will send them to you by return. Originally written for a musical by Jeff called "Only an Orphan Girl" and was a very old melodrama script with suggestions only for music. Courage was taken from the original and arranged as you find here, for a brass quintet.