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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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How Can We Be Lovers
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Be Still and Know (in F)
Level 3 - Digital Download SKU: A0.1105037 By David Kai. By David Kai. Arranged by …
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Level 3 - Digital Download SKU: A0.1105037 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Rock. Full Performance. Duration 239. David Kai #708281. Published by David Kai (A0.1105037). This song is a reflection on Psalm 46. Like many Psalms, it contains elements of questioning, challenge and finally, faith. It is written in a Contemporary Christian/Christian Rock style. BE STILL AND KNOW (Psalm 46) BE STILL AND KNOW Chorus: Be still and know that I am God, Be still and know that I am God Be still and know that I am, Be still and know that I am God You are the Word beyond all words, a holy mystery, A presence in the universe that I can’t touch or see, A force in space and time with no beginning and no end, A spark of inspiration that I cannot comprehend. In a world that’s so embraced by pain how can Your love be shown? In life that’s short and fleeting, can eternity be known? My questions have no answers for I’ve painted You too small, So I will cease my babbling and worship You in awe. Be still and know that I am God, Be still and know that I am God Be still and know that I am, Be still and know that I am God Our God’s a refuge and our strength, and so we will not fear, Though mountains shake and waters roar our God is always near, God makes the wars to cease and breaks the bow, the shield, the spear, Behold the works of God whose reign of peace will dry all tears. You are the glints of sunlight through the amber-dappled leaves, You are the hints of silence in the vows that lovers breathe, You are the one who awes me with the love that we receive, You are my first and dying breath, in You I will believe. Be still and know that I am God...
$1.99
1.79 €
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David Kai
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David Kai
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Be Still and Know
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David Kai
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SheetMusicPlus
Tristan und Isolde
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 …
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3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - Digital Download SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99
43.22 €
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Richard Wagner
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Tristan und Isolde
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Schott Music - Digital
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SheetMusicPlus
Paganini Jazz
Violin, piano, E-bass or double bass and percussion - Digital Download SKU: S9.Q50392
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Violin, piano, E-bass or double bass and percussion - Digital Download SKU: S9.Q50392 Variations on the Caprice No. 24 in the style of modern jazz. Composed by Fazil Say. Arranged by Andreas N. Tarkmann. This edition: score and parts. Jazz - piano - contemporary music. Downloadable, Score and parts. Op. 5c. Duration 8 minutes. Schott Music - Digital #Q50392. Published by Schott Music - Digital (S9.Q50392). Key: A minor.The concert piece Paganini Jazz by Fazıl Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned 24th Capriccio, transforming it into variations on jazz requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the 24th Capriccio. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various developmental passages and transitional improvisations while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say.
$24.99
22.51 €
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Fazil Say
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Andreas N
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Paganini Jazz
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Schott Music - Digital
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SheetMusicPlus
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