SKU: LO.20-1478L

ISBN 9781429107266.

Level 2+ • Flowing freely and cheerfully, Johann Crüger’s robust tune is transformed into a refreshing, sprite-like dance in the form of a chorale prelude. If available, a zimbelstern makes a stunning addition to this selection.

SKU: BR.PB-5581

ISBN 9790004213919. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-23

ISBN 9790004343234. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-27

ISBN 9790004343241. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: GI.G-CD-992

For many years, GIA has published some of the finest arrangements for brass ensembles. Deo Gratias offers quartets, antiphonal trumpet duos, trumpets with handbells, and other configurations—and for a variety of seasons and occasions. Whether it’s a transcription of a Renaissance motet, a fantasie on a beloved German hymn, or something triumphant for Christmas or Easter, if you’re in need of a piece for your group, you just might find what you’re looking for here. Of course, the performances on Deo Gratias make it a great choice as a gift for anyone—including yourself! CONTENTS: Lift High the Cross, TUCKER (G-6572) • Two Renaissance Motets, Vol. 1, trans. EVANS (G-6796) • Two Renaissance Motets, Vol. 1, trans. EVANS (G-6796) • O Come, O Come Emmanuel, arr. TUCKER (G-6568) • People Look East, arr. TUCKER (G-6570) • Chorale from Christmas Oratorio, arr. TUCKER (G-6516) • Two Renaissance Motets, Vol. 2, trans. and ed. EVANS (G-6797) • Two Renaissance Motets, Vol. 2, arr. EVANS (G-6797) • This Joyful Eastertide, arr. EVANS (G-6798) • Immortal , Invisible, God Only Wise, arr. KELLERMEYER (G-7928) • Fantasie on “Ein’ Feste Burg,” arr. EVANS (G-6799) • Sing a New Song to the Lord, arr. HENDERSON (G-5676) • Psallite II: Two Dances, arr. HYSLOP (G-5743) • Deo Gratias, Fantasy on the Plainchant, PROULX (G-6869) • Antiphony, PROULX (G-4457) • All Hail the Power of Jesus’ Name, arr. EVANOVICH (G-8077).