The Latin Brass Soloist

SKU: GI.G-7140

UPC: 785147714002. English, Latin. Text Source: Ref.: Latin, vv.: Alan J. Hommerding; Translation: Alan J. Hommerding. Text by Thomas Aquinas.

Alan J. Hommerding translated this text from Thomas Aquinas’ original Latin (the refrain retains the Latin text). Michael Joncas scored the piece to include an optional brass quintet with timpani. Ideal for alternating male and female soloists on the verses. The full score contains extensive performance and text notes, as well as reprintable material for congregational use. For cantor or soloists Brass quartet and timpani parts are optional.

SKU: CF.CPS217F

ISBN 9781491153116. UPC: 680160910618.

The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”.  This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section.  The composition comes full circle and finishes with a majestic return of the chorale material from the opening.  A welcome addition to the repertoire.
The title Aerius is a Latin term meaning “soaring” or “rising aloft.” The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.

SKU: CF.CPS217

ISBN 9781491152430. UPC: 680160909933.

The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”.  This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section.  The composition comes full circle and finishes with a majestic return of the chorale material from the opening.  A welcome addition to the repertoire.
The title Aerius is a Latin term meaning “soaring” or “rising aloft.” The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.

SKU: CA.1080403

ISBN 9790007191375. Text language: Latin.

Its musical variety is key to the appeal of the Missa brevis. From a fughetta in the Kyrie to the quartal harmonies of the Gloria with its dialog between soloists and chorus to the rhythmically striking passages in the Sanctus there is everything an experienced choir could wish for. The final Agnus Dei gloriously presents both soloists and the choir with a compelling and dramatic call for peace. Festivly supported by the brass and the organ, the Missa brevis is an exciting and rewarding piece for the choral repertoire. Score available separately - see item CA.1080400.

SKU: CA.1080409

ISBN 9790007191382. Text language: Latin.

Its musical variety is key to the appeal of the Missa brevis. From a fughetta in the Kyrie to the quartal harmonies of the Gloria with its dialog between soloists and chorus to the rhythmically striking passages in the Sanctus there is everything an experienced choir could wish for. The final Agnus Dei gloriously presents both soloists and the choir with a compelling and dramatic call for peace. Festivly supported by the brass and the organ, the Missa brevis is an exciting and rewarding piece for the choral repertoire. Score and parts available separately - see item CA.1080400.

SKU: HL.4008509

UPC: 196288176275.

Omagg io was commissioned by Steven Mead in celebration of his 60th birthday and in memory of his father, Rex. He gave the premiere of the brass band version in Rome in March 2022, accompanied by the Italian Brass Band conducted by Filippo Cangiamilla. The concertband premiere took place on 6th July that year as part of the 2022 Spanish International Tuba Euphonium Conference, accompanied by the Banda municipal de música de Málaga. The concerto is set in 3 continuous movements, which are united by a recurring syncopated interval of a fifth. The first movement, FANTASIA, opens with this motive accompanying an extended monologue for the soloist. This is followed by a lengthy bridge passage by the piano, which is eventually joined by the soloist, who guides the music back to the opening soliloquy, leading to an energetic central section. This develops until the opening material again returns to introduce the second movement, BALLAD, which revolves around an expressive melody for the soloist, interspersed by accompanied cadenzas. The thirdmovement, THE KING TRIUMPHANT, pays homage to Steven’s late father, Rex, and its title alludes both to Rex's name ('Rex' being Latinfor 'king') as well as his love of Eric Ball’s Salvationist masterpiece, The Kingdom Triumphant. The finale is an energetic tour-de-force featuring an acrobatic 6/8 melody, which is interrupted twice by the magnificent hymn tune, Helmsley, which Ball uses so effectively in The Kingdom Triumphant. A galloping coda brings the work to a close.

SKU: CA.1080400

ISBN 9790007165055. Text language: Latin.

Its musical variety is key to the appeal of the Missa brevis. From a fughetta in the Kyrie to the quartal harmonies of the Gloria with its dialog between soloists and chorus to the rhythmically striking passages in the Sanctus there is everything an experienced choir could wish for. The final Agnus Dei gloriously presents both soloists and the choir with a compelling and dramatic call for peace. Festivly supported by the brass and the organ, the Missa brevis is an exciting and rewarding piece for the choral repertoire.

SKU: GI.G-7144

UPC: 785147714408. English, Latin. Text Source: Based on Veni, Sancte Spiritus and Veni, Creator Spiritus. Text by J. Michael Joncas.

Based on “Veni, Creator Spiritus.” This is a grand setting of the ancient hymn text (based largely on Caswell’s English translation). Some of the features of this piece are the use of two cantors (preferably male and female) and the accompaniment that includes brass quintet and timpani. Extensive notes about the text and suggestions for performance are included in the full score edition (G-7144INST). For cantor or soloist.

SKU: CY.CC2362

Ian McDougall is one of Canada's finest musicians; a virtuoso Trombonist and first rate composer. His new work, Remember When is for solo Trombone & Low Brass Ensemble of 3 Trombones & Tuba (orchestral low brass section). The work can also be performed with a Flugelhorn or Horn playing the solo part.

Lush chords with shifting brooding colors set the tone for the soloist who plays a beautiful dark & lyrical melody line.

The work is in an A-B-A format with a Latin middle section featuring an ad lib. jazz solo (written out solo is provided).

This work is about 3 minutes in length and can be performed by moderately advanced performers.

SKU: CA.2719050

ISBN 9790007171766. Text language: Latin.

Carus published the original version of Bruckner's Te Deum for soloists, choir and large orchestra (Carus 27.190) in the fall of 2015. In order to make this work available for performance by smaller-sized ensembles [und einem weiteren Benutzerkreis zuganglich zu machen] Carus now presents it in an arrangement for brass quintet and organ. The brass parts are orientated essentially towards those in Bruckner's orchestral version, while the organ part follows the original string parts. [Damit kann nun auch unter eingeschrankten Bedingungen dieses grossartige Werk in einer adaquaten, stimmigen Form zur Auffuhrung gebracht werden.] As the voice parts (soloists and choir) in this reduced version are identical with those of the original the vocal score and choral score of the latter version can be used. This work is available (in the original version) in carus music, the choir app! Score available separately - see item CA.2719000.

SKU: CA.2730800

ISBN 9790007254667. Latin.

Verdi's Requiem is one of those works that almost every choir would like to have sung (at least) once. This arrangement for chamber orchestra means that smaller choirs and choirs with more limited space or financial means also now have the opportunity of performing this popular work. The scoring, with seven different wind and brass instruments (flute, oboe, clarinet, bassoon, horn, trumpet, and trombone) plus strings, timpani and bass drum, guarantees a wide dynamic range and a nuanced sonority. The four offstage trumpet parts can be played either as in the original, reduced to two trumpets, or even omitted. The relevant passages in the Tuba mirum also contain ossia passages for the orchestral brass, so that they can play their parts in performance without the need for offstage trumpets. All the vocal parts (soloists and chorus) are identical to the original version, so the vocal score, vocal score XL, and chorus scores of the existing Carus edition can be used by the chorus.
Michael Betzner-Brandt's successful arrangement of the Requiem (Carus 27.303/50) radically reduces the scoring to five instrumentalists and transfers the work to a different sonority, but in the arrangement by Joachim Linckelmann the symphonic character is retained.

*wind and brass parts reduced to just seven single instruments
*maximum flexibility in the use of offstage trumpets
*vocal scores and chorus scores from the original version can be used
*carus plus: the work (original version) is available in carus music, the choir app, and in the practice series Carus Choir Coach.

SKU: CA.5031419

ISBN 9790007138295. Key: C major. Language: Latin.

Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and parts available separately - see item CA.5031400.

SKU: CA.5031449

ISBN 9790007135379. Key: C major. Language: Latin.

Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and part available separately - see item CA.5031400.

SKU: CA.4065712

ISBN 9790007085292. Key: B flat major. Language: Latin.

With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and part available separately - see item CA.4065700.

SKU: CA.5031413

ISBN 9790007223809. Key: C major. Language: Latin.

Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and part available separately - see item CA.5031400.

SKU: CA.5031412

ISBN 9790007223793. Key: C major. Language: Latin.

Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and part available separately - see item CA.5031400.

SKU: CA.5031405

ISBN 9790007107253. Key: C major. Language: Latin.

Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score available separately - see item CA.5031400.

SKU: CA.4065711

ISBN 9790007085285. Key: B flat major. Language: Latin.

With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and part available separately - see item CA.4065700.

SKU: ST.H457

ISBN 9790220221637.

The fourteen new pieces of The Light Touch for trumpet and piano capture the energy of popular music and the fascination of its ever-changing boundaries. In two books, graded Easy to Intermediate and Intermediate Plus, with accompaniments also available as free downloadable MP3 files, the collection has been compiled and edited by noted soloist Deborah Calland, who has showcased the work both of leading composers and exciting new talents.

The contents are wide-ranging, from funk, jazz and blues to ragtime, Latin American and minimalism, with additional scope for cross-curricula study. A major resource for players and teachers, the two albums will encourage fresh and revealing encounters with popular music in its many forms, while charming audiences with the allure of 'The Light Touch'.

SKU: IS.TBP6747EM

ISBN 9790365067473.

Fran çois 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. As well as the Fantasy, this Concerto for Euphonium has been dedicated to world class soloist Nick Ost.

SKU: CA.4065719

ISBN 9790007134570. Key: B flat major. Language: Latin.

With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and parts available separately - see item CA.4065700.

SKU: CA.4068950

ISBN 9790007254445. Key: D major. Latin.

Beethoven described his Missa solemnis several times as his greatest work. Coming from the heart, it was intended to touch and move audiences. Beethoven worked long and intensively on the composition in order to give what he felt was adequate expression to the text. In its length and musical demands, the Missa solemnis goes far beyond typical liturgical settings; for good reason, the premiere took place in a concert hall. With this arrangement for chamber orchestra (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani and strings, plus organ ad lib), smaller choirs, as well as choirs with more limited resources of space or finance, can now perform this work too. However, the symphonic character and wide dynamic range of the work remain. The scoring of 7 instead of 18 winds offers an optimal balance between transparency and orchestral sound. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal score and chorus score of that version can be used. Major mass can also be performed by smaller choir Wind and brass parts of the original version reduced to just seven single instruments Vocal scores and choral scores from the original version can be used. carus plus: the work (original version) is available in carus music, the choir app, and in the practice CD series Carus Choir Coach. Score available separately - see item CA.4068900.