SKU: LP.765762153127
UPC: 765762153127. Orchestrated by Russell Mauldin.
Noel & Alleluia! Jesus Is Born, created by Tom Fettke and orchestrated by Russell Mauldin, is the ideal Christmas offering for church choirs of all sizes. With music by some of the Christian music world's most popular artists; such as Michael W. Smith, Keith & Kristyn Getty, Lowell Alexander, and Tom Fettke; this narrated music will resonate with congregations that lean toward a more traditional style of worship, as well as those with a more contemporary bent.
SKU: LP.765762153028
UPC: 765762153028. Orchestrated by Russell Mauldin.
SKU: LP.765762202108
UPC: 765762202108. Orchestrated by Russell Mauldin.
SKU: BR.OB-15121-23
ISBN 9790004340158. 10 x 12.5 inches.
Schumann's A minor concerto is considered as the ultimate romantic piano concerto. Since the Schumann anniversary year 2010, musicians will be able to base their performance on a complete Urtext edition. The state of the sources is unfortunately patchy, as the original version of the first movement, a Phantasie of 1841 that was given two trial performances, can no longer be reconstructed. On the other hand, the posthumously published score raises certain questions, since it diverges from the editions (solo part and orchestral parts) authorized by Schumann and published in 1846, after the first performance. The pianist Mitsuko Uchida contributed the fingering for the version for two pianos. Schumann's great solo concertos are thus available in their entirety from Breitkopf, in editions prepared with the expert help of major interpreters: the Cello Concerto with Heinrich Schiff and the Violin Concerto with Thomas Zehetmair. Dans l'incomparable qualite de gravure de la plus ancienne maison d'edition musicale au monde! (L'education musicale).
SKU: LO.55-1129L
UPC: 000308121506.
This compelling reflection upon Jesus’ final days is viewed through His eyes and the eyes of those surrounding Him: Mary, sister of Martha; an officer to Caiaphas; Judas; Peter; Jesus Himself; Pilate; Mary, the mother of Jesus; Mary Magdalene; and Thomas. A sequence of dramatic, scripture-based monologues tells the story, alternating with Lloyd Larson’s masterfully inspired music as the “voice of the believer†responds. Flexibly conceived, this work may be presented as simply or as elaborately as you wish, depending upon your resources and preferences. Performance options range from use as a source of single anthems for your seasonal service needs to a short worship program with monologues and choruses or a special, fully staged production. It is our hope that this work will prompt your own reflections upon the great wonder and mystery of the Incarnate God Who, for the love of His people, humbled Himself, dying for our salvation and triumphing over death.
SKU: HL.14041762
9.0x12.0x0.071 inches.
'Romance for violin and piano is a short, reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist, Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing, numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece, the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.' - Helen GrimeBorn in 1981, Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07, Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO, London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding, Oliver Knussen, Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Halle from the.
SKU: HL.48020982
UPC: 884088545598. 6.75x10.5 inches.
This contemporary work from Daniel Brewbaker is a jubilant shout of joy at the miracle of being alive. Based on poems by St. Thomas Aquinas and Rabia, their ideas resonate with each other across the centuries, and extend to our own. The music alternates between exhilarating elation and quiet amazement, concluding with an exuberant affirmation of the self as the central expression of the divine choir of life. From his cantata Living the Divine. Duration: 2:30.
SKU: FA.MFCD007PN
8.27 x 11.69 inches.
Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.Unfortunately, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
SKU: HL.49046935
ISBN 9781705169353. UPC: 842819116837. 9.25x12.0x0.5 inches.
SEVEN DAYS is a cycle for solo piano in 21 movements, most lasting between three and seven minutes, distributed in the form of a custom app produced by the 92Y and released during their Fall 2021 season. Using the app on their phones, listeners are asked to listen to three movements a day according to an approximate schedule - one movement in the morning, one in the afternoon, and another sometime in the evening - for seven days. The music is performed by Pedja Muzijevic and presented alongside paintings by Gloria Maximo. (Please visit 92Y.org for information on how to download the Seven Days app.) The work is designed as a listening experience that tunes us into the passing of time, connecting us both to the present moment as well as the cycle of the week. The experience invites music to inhabit and structure our everyday - to find us where we are in the world. The morning-afternoonevening schedule is meant to focus participants on the dawn-to-dusk cycle as well as to create a communal listening ritual. It is also an experiment in large-scale form, designed to draw attention to musical material developing across a week-long expanse, interspersed with vast silences. SEVEN DAYS was shaped by a year spent in relative isolation due to the pandemic. While it is a work composed during a time of quarantine, it will be experienced first by an audience in the process of returning to a more normal world. In that sense, it is an artwork born out of a year of relatively cloistered existence that seeks to preserve aspects of that experience as we move forward. The piece was also inspired by the work of Morton Feldman and Chantal Akerman, whose large-scale works consider time, process, and stillness. Their art struck me with a fresh relevance during the silent stretches of the pandemic year 2020. It was also a year in which writings about time, penned by contemplatives like Henry David Thoreau and Thomas Merton, held new weight. All of this in turnresonated with Gloria Maximo's profound paintings, which I've long admired. SEVEN DAYS is an artwork we are invited to do - using music to point our attention to the present moment, the everyday, and the seemingly mundane. It is a piece listeners are also asked to live within as it unfolds over a week rather than to witness it live. The key players here are time and the listener's own surroundings, starring together alongside music and art in a wordless drama. -Gregory Spears.
SKU: LP.765762153226
UPC: 765762153226. Orchestrated by Russell Mauldin.
SKU: LP.765762202009
UPC: 765762202009. Orchestrated by Russell Mauldin.
SKU: BR.OB-15121-15
ISBN 9790004340127. 10 x 12.5 inches.
SKU: BR.OB-15121-27
ISBN 9790004340165. 10 x 12.5 inches.
SKU: BR.OB-32117-16
ISBN 9790004350843. 10 x 12.5 inches.
The cantata Schmucket das Fest mit Maien has survived without any information about the time of its composition, its purpose, or its scoring. The librettist is also unknown, although there is a comparatively similar text in the work of the Silesian poet Hans Assmann Freiherr von Abschatz (1646-1699), printed in Leipzig in 1704. Since the copy of the score that serves as the source for this edition was probably written after 1708, and the work is closely related to the cantata Daran erkennen wir (PB 32090), it could have been written during Kuhnau's first years as Thomaskantor from 1701 on.The text set to music provides information about the purpose of the cantata. In the course of the work, the image of the bridegroom and his bride from the Song of Songs is reinterpreted as the sending of the Holy Spirit upon the congregation of Christians. In the first part, passages from the Song of Songs predominate while the second part quotes their symbolic interpretations or treats them in free poetry. In the concluding chorale, a stanza from Philipp Nicolai's Wie schon leuchtet der Morgenstern (How beautifully the morning star shines), the outpouring and the flames are also mentioned, so the purpose to the feast of Pentecost is clear.Another special feature of the cantata is the varied and colorful instrumentation with the scoring of two flutes, two oboes and bassoon in individual movements, in addition to the usual, sometimes divided strings.
SKU: BR.BV-179
Facsimile reprint of the 1st edition in Berlin 1753 Wq 254 (H. 868) and 1762 Wq 255 (H. 870)
ISBN 9783765101793. 6.5 x 9 inches.
Carl Phillip Emanuel Bach wurde als 2. Sohn Johann Sebastian Bachs geboren und ist der bekannteste Nachkomme des beruhmten Thomaskantors.Obwohl traditionsgemass Schuler seines Vaters, steht er in der Mitte zwischen diesem und der Wiener Klassik. Weniger die Sonatenform als solche hat er dabei gefordert, als ihren Inhalt im Sinne der Vertiefung motivischer Arbeit sowie Vergeistigung und Beseelung des musikalischen Ausdrucks. Insbesondere auf die Entwicklung der fruhklassischen Klaviermusik hat er nachhaltigen Eindruck ausgeubt.Das vorliegende Lehrwerk, das noch zu seinen Lebzeiten zahlreiche Verbreitung erfuhr und mehrere Nachauflagen erlebte, stellt eine Hauptquelle unseres Wissens vom Klavierspiel, Generalbass und musikalischen Vortrag um 1750 dar.
SKU: BR.OB-32117-26
ISBN 9790004350867. 10 x 12.5 inches.
SKU: BR.OB-32117-15
ISBN 9790004350836. 10 x 12.5 inches.
SKU: BR.OB-32117-30
ISBN 9790004350874. 10 x 12.5 inches.
SKU: BR.OB-32117-11
ISBN 9790004350829. 10 x 12.5 inches.
SKU: BR.PB-32117
ISBN 9790004215845. 10 x 12.5 inches.
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