SKU: CA.1952700
ISBN 9790007032814.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: M7.ART-42150
ISBN 9783866421509.
Mit 'Mein weihnachtliches Klavieralbum für Klavier & Gesang' präsentiert Michael Gundlach eine Auswahl der schönsten deutschen und international bekannten Weihnachtslieder aus verschiedenen Jahrhunderten. Die 20 ausgesprochen schönen und einfach gehaltenen Klavierbearbeitungen zur Gesangsbegleitung laden zum gemeinsamen Mitsingen ein und sind eine Bereicherung für jedes besinnliche Weihnachtsfest.
SKU: M7.ART-42149
ISBN 9783866421493.
Mit 'Mein weihnachtliches Klavieralbum für Solo-Klavier' präsentiert Michael Gundlach eine Auswahl der schönsten deutschen und international bekannten Weihnachtslieder aus verschiedenen Jahrhunderten. Die 20 geschmackvoll und mittelschwer arrangierten Solo-Interpretationen sind bestens geeignet für den konzertanten Vortrag und werden Spieler und Zuhörer gleichermaßen begeistern. Anspruchsvolle Pianistinnen und Pianisten kommen hier ebenfalls voll auf ihre Kosten. 'Mein weihnachtliches Klavieralbum' - eine Bereicherung für jedes besinnliche Weihnachtsfest.
SKU: HL.49006971
ISBN 9790001074643. German.
Dieses Buchlein ist dem Liebhaber der einmanualigen Orgel gewidmet, ist aber auch fur Keyboard geeignet. Es gab einige Gesichtspunkte, weshalb es geschrieben wurde. Da ware zunachst einmal der Spieler, der im Kindesalter auf moglichst unkomplizierte Art Kontakt zur Musik bekommen mochte. Vielleicht gelingt es mir, mit dem vorliegenden Heft diese Brucke zu schlagen. Und es gibt den Jugendlichen, der sich nicht vorstellen kann, dass er genugend Fahigkeit hat, ein Instrument zu erlernen. Ihm mochte ich diese Angst nehmen und Mut machen. Hat er erst einmal erkannt, wie einfach der Umgang mit Tasten ist, so hat er gute Chancen, seine Fahigkeiten an einem grosseren Instrument weiter aus zubauen. Auch fur den vielbeschaftigten Erwachsenen, der die Zeit fur den Orgelunterricht nicht aufbringen kann, ist dieses Spielheft gedacht. Die Stucke sind so einfach geschrieben, dass er auch ohne Lehrer, ohne Notenkenntnisse, ohne Wissen um Musiktheorie und Harmonielehre ein Hobby pflegen kann, das schon vielen unter uns grosse Freude gebracht hat. Lernen Sie also auf einfachste Weise die ganze Welt wunderschoner Melodien kennen. Ich wunsche dazu viel Spass.
SKU: BT.DHP-1155674-215
English-German-French-Dutch.
In this charming medley Christmas Spirit from Robert van Beringen, four traditional Christmas songs are presented: Good King Wenceslas, Il est né le divin Enfant, Veni veni Emmanuel and of course Gloria in excelcis Deo. Theinstrumentation is for flexible band and is very easy so that any ensemble, including smaller ones, can perform this at Christmas.In deze innemende medley, Christmas Spirit door Robert van Beringen, worden vier traditionele kerstliederen gepresenteerd: Good King Wenceslas, Il est né le divin Enfant, Veni veni Emmanuel en natuurlijk Gloria in excelcis Deo.De zeer eenvoudige instrumentatie, geschreven voor een flexibele bezetting, maakt het ook voor kleine ensembles haalbaar om dit werk op hun kerstconcert uit te voeren.In dem bezaubernden Medley Christmas Spirit von Robert van Beringen werden vier traditionelle Weihnachtslieder vorgestellt: Good King Wenceslas, Il est né le divin enfant, Veni, veni, Emmanuel und natürlich Gloria in excelcis Deo.Das Stück ist sehr leicht und eignet sich für eine variable Besetzung, so dass auch kleinere Ensembles es an Weihnachten aufführen können.Dans ce medley charmant de Robert van Beringen, quatre chants de Noël sont présentés : Good King Wenceslas, Il est né le divin Enfant, Veni veni Emmanuel et, bien s r, Gloria in excelsis Deo. L’instrumentation est pourorchestre d’harmonie flexible et le degré de difficulté permettra chaque ensemble, même plus petit, de l’interpréter Noël.Medley di classici natalizi per organico a strumentazione variabile. Include: Buon Re Venceslao, Il est né le divin Enfant, Veni veni Emmanuel e il Gloria in excelcis Deo.
SKU: BT.DHP-1155674-015
SKU: BT.GOB-000561-130
David Well composed ‘X-mas for Three’ for three young pupils of his, who wished to give a Christmas concert. He arranged six well-known Christmas songs for them, and their first performance was a great success. This was reason for the composer to adapt the piece for ‘orchestra’ by adding percussion. The title has stayed the same, and the work can still be played by as few as three musicians, but as the saying goes: “The more, the merrier”! ‘X-mas for Three’ consists of the following parts : 1. Oh du fröhliche 2. Kling, Glöckchen, kling 3. Gloria in excelsis deo 4. Joy to the world! 5. The first Noel 6. We wish you a MerryChristmas David Well componeerde ‘X-mas for Three’ voor drie jeugdige leerlingen die een Kerstconcert wilden geven. Hij bewerkte zes bekende kerstliederen voor hen en zij oogsten veel succes met hun eerste optreden. Dit was de reden voorde componist om het stuk geschikt te maken voor ‘orkest’ en voegde daarom percussie toe. De titel is gelijk gebleven en het stuk kan nog steeds met z’n drieën gespeeld worden maar met meer mag ook en dat is natuurlijk nog veelleuker.‘X-mas for Three’ bestaat uit de volgende delen: 1. Oh du fröhliche 2. Kling, Glöckchen, kling 3. Gloria in excelsis deo 4. Joy to the world! 5. The first Noel 6. We wish you a MerryChristmas
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