This beloved work by J. S. Bach is arranged here for Soprano (Descant) Recorder with a fully realized keyboard part that is accessible to intermediate players and can be played on piano, organ, or harpsichord. It is perfect for weddings, concerts, or solo/ensemble repertoire and is able to be used with the Choral Edition, which provides a new translation. For worship, it can be performed almost any time since it exudes peace and joy, but it is particularly suited for Advent and Christmas since it comes from Cantata 147, "Herz und Mund und Tat und Leben" ("Heart and Mouth and Deeds and Life"), a cantata about Mary, the mother of Jesus, visiting her cousin Elizabeth and singing the Magnificat (see Luke 1:26-56). An optional part is provided for Cello/Bassoon. An arrangement with an easier keyboard part is also available as are arrangements for Alto (Treble) Recorder or Tenor Recorder and other instruments and ensembles. For more music and information, visit www.jubalslyre.com/music.

Les Indes Galantes (French: "The Amorous Indies") is an opera by Jean-Philippe Rameau with a libretto by Louis Fuzelier. It takes the form of an op�ra-ballet with a prologue and (in its final form) four entr�es (acts). Following an allegorical prologue, the four entr�es have distinct and separate plots, but are unified by the theme of love in exotic places (The Ottoman Empire, Peru, Persia, and North America). The most famous pieces from the work, Danse des Sauvages and the final Chaconne, come from the final entr�e (Les sauvages).

The premiere, including only the prologue and the first two of its four entr�es (acts), was staged by the Acad�mie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Op�ra, Marie Antier, Marie P�lissier, Mlle Err�mans, Mlle Petitpas, Denis-Fran�ois Tribou, Pierre J�lyotte, and Claude-Louis-Dominique Chass� de Chinais, and the dancers Marie Sall� and Louis Dupr�. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

The Sauvages: The stage shows a grove in a forest in America, on the borders of the French and Spanish colonies, where the ceremony of the Peace Pipe is about to be celebrated

Adario, a Native American, is in love with Zima, daughter of a native chief, but he fears the rivalry of the Spaniard Don Alvar and the Frenchman Damon (Air: Rivaux des mes exploits, rivaux des mes amours). The Europeans plead with Zima for her love, but she says Damon is too fickle and Alvar is too jealous; she prefers the natural love shown by Adario (Air: Sur nos bords l'amour vole) and the couple vow to marry (Duet: Hymen, viens nous unir d'une cha�ne �ternelle). The act ends with the Europeans joining the natives in the ceremony of peace (Chorus: For�ts paisibles).

Taken fromhttps://en.wikipedia.org/wiki/Les_Indes_galantes

English - French - German.

Irish Folk Tunes for Descant Recorder is a collection of 63 arrangements for descant recorder, of traditional tunes including a range of styles such as Reels, Hornpipes, Jigs and more.
Experienced recorder player and co-author of English Folk Tunes for Descant Recorder, the Baroque Recorder Anthology series, and Fun and Games with the Recorder series amongst others, Peter Bowman provides notes on all of the styles covered, as well as individual pieces. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.
The volume contains recordings for download in order to get a sound impression of the stylistic and technical features of the pieces.

This is a mega-bundle of string quartet repertoire, totalling 21 pieces and over 250 pages of music. Full scores and parts are provided for all pieces, covering weddings, Christmas music, slow melodies, traditional Welsh melodies and baroque classics. This is the full list:

1. WeddingMarch (from A Midsummer Night?s Dream) (Mendelssohn)

2. WeddingMarch (Bridal Chorus from Lohengrin) (RichardWagner)

3. BrandenburgConcerto No. 3, complete (Bach)

4. BrandenburgConcerto No. 5, mvt. 3 (Bach)

5. Canon(Pachelbel)

6. LaR�jouissance from ?Music for the Royal Fireworks? (Handel)

7. Rondofrom ?Abdelazer? (Purcell)

8. Largofrom ?Xerxes? (Handel)

9. Toccata(from Symphony V) (Widor)

10. AllThrough The Night (Welsh trad.)

11. ArLan y M�r (Welsh trad.)

12. Davidof the White Rock (Welsh trad.)

13. Myfanwy(Welsh trad.)

14. SuoGan (Welsh trad.)

15. Andante(Gluck)

16. Gymnop�dieNo.1 (Satie)

17. PianoSonata No.8 Op.13 ?Path�tique? - 2nd mvt. (Beethoven)

18. HappyBirthday

19. 15Christmas Carols

20. SilentNight (Gruber)

21. JoyTo The World (Mason)

This pack represents a huge saving over the individually priced music.


Complete string catalogue arr. Austin Ralphson is here (copy and paste to new tab):
www.ralphsonstrings.com

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.



https://youtu.be/qTwqBVt2Clw

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.