Music for St Ives

John BloodGZ 030
Brass Quintet: 2 Tpts, Hn, Tbn., Tuba | Duration: 15 minutes

Music for St Ives was commissioned by Adrian King for his Brio Brass Ensemble who gave the first performance at the St Ives September Festival in Cornwall on the 16th September 1981. It was later played by the Philip Jones Ensemble. It has four very distinctive movements ranging from the furious energy of the first to the exhilaration of the last where a Cornish hymn can be heard amidst all the wild excitement.

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  1. Furiosamente
  2. Quasi Allegretto
  3. Lento espressivo
  4. Vivo
Score and parts

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Le Basque

Traditional arr. BloodGZ008
Horn and Piano duet (4 hands) | Duration: 2 minutes

An old French dance–tune, often played as an encore by Dennis Brain. This arrangement first performed by Christopher Owen, Catherine Matthews and John Blood at the 1997 Hawkshead Summer Music Festival.

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Nor’wester Caprice

John BloodGZ012
Trumpet and Piano | Duration: 4 minutes

Written in 1973 for Christopher Blood, who performed it to win the Manns Brass Prize at the RCM the same year. First public performance in revised version, 1982 BMS concert, Chelsea College – Christopher Blood (Tpt) John Blood (piano). A showy concert piece: slow introduction, then fast and jazzy.

Comes as score and trumpet part.

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Rondo in A minor K. 511

Mozart arr. SwayneGZ014
Trumpet and Piano | Duration: 10 minutes

This arrangement of the 1787 piano Rondo highlights its affinities with Don Giovanni (written the same year) and the increasingly dark quality of Mozart’s late style. First performed by Alison Balsom (Tpt) and Iain Farrington (Piano) at Harewood House, near Leeds, on 28th November 2003.

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Sangre viva

Giles SwayneGZ015
Trumpet and Piano | Duration: 15 minutes

Commissioned by the Earl and Countess of Harewood and first performed by Alison Balsom (Tpt) and Iain Farrington (Piano) at Harewood House, near Leeds, on 28th November 2003. London premiere at the Wigmore Hall on 9th December, 2003. A virtuoso concert–piece for both instruments, this important addition to the repertoire stems from a phrase used by Lorca about the nature of performance. It is in two movements: a jazzy blues, and a dreamy finale subtitled Sueño (Dream).

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