SKU: HL.49031764
ISBN 9790001057073.
SKU: HL.49026963
ISBN 9790001020763.
SKU: HL.49001390
ISBN 9790001015899. 7.5x11.0x0.008 inches. German.
SKU: BT.SCHBB5500273
Alto, Baritone, Female Voices, Orchestra (Vocal Score). Wagner-regeny, R.
SKU: HL.275458
UPC: 888680744175. 5.0x5.0x0.15 inches.
A medley featuring the songs Girl on Fire by Alicia Keys, Fight Song by Rachel Platten and Roar by Katy Perry. Each of these pop songs speaks to the strength and fortitude of women through belief in yourself and standing up for oneself. These are powerful themes for young women, all wrapped in a well-crafted arrangement.
SKU: HL.14028520
ISBN 9780711993488. 9.0x12.0x0.34 inches.
Five songs for solo soprano, eight female voices and orchestra. Study Score edition. First performed at the Salzburg Festival 1996. Duration 24 minutes. Conductor's Score, vocal part, and orchestral parts are available on hire only.
SKU: HL.266485
UPC: 888680733148. 5.0x5.0x0.15 inches.
Ke$ha's 2017 hit ballad was also the talk of the night at the 2018 Grammy awards. The song, nominated for a 2018 Grammy for best pop solo, is about power and taking control and healing and the message is one that your women will resonate with.
SKU: HL.266484
UPC: 888680733131. 6.75x10.5 inches.
Kesha's 2017 hit ballad was also the talk of the night at the 2018 Grammy awards. The song, nominated for a 2018 Grammy for best pop solo, is about power and taking control and healing and the message is one that your women will resonate with.
SKU: HL.49019924
ISBN 9790001196697. UPC: 884088991364. 9.0x12.0x0.144 inches. German - French.
Bass Solo, Mixed Choir (3 Female Voices, TTB), and Organ.
SKU: HL.35020303
UPC: 747510059325. 6.75x10.5 inches.
An excellent chorus from the Vivaldi opera, La Fida Nim, this 3-part arrangement of “Sing Out This Day!” is a great opening number for concert, contest, or festival. Optional flute and hand drum parts are provided. The optional solo and keyboard parts are drawn from Vivaldi's original score. A wonderful introduction to Baroque music.
SKU: BA.BA25144
ISBN 9790006575107. 29.7 x 21 cm inches. Text Language: Latin.
The motets and choral pieces, composed with the distinctive features of the Madeleine organ in mind, enchant with their colourful, floating harmonies and convey a certain intimacy even with their ritualized Latin texts. These works are very well suited for performances by small vocal ensembles. A novelty is the inclusion of the double bass part (ad libitum) which does not appear consistently in the first editions but corresponds to the musical practice at the Madeleine.Numerous gems such as the â??Cantique de Jean Racineâ? or the â??Messe basseâ? are published in performing editions based on the musical text of the â??Gabriel Faur â?? Å?uvres complètesâ?.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA01228-91
ISBN 9790006409426. 27 x 19 cm inches.
Die Chorpartitur enthalt auch die Solopartien
SKU: HL.48022495
ISBN 9781476871486. UPC: 884088669676. 6.75x10.5 inches.
Texts: Latin and EnglishPublisher: Boosey & HawkesDifficulty level: 3The Ceremony of Carols is one of Britten's best-known and most-performed works. It is a brilliantly conceived and dramatic concert work which sees the voices process to their places singing unaccompanied plainsong and, at the end, processing out again to the same chant. These movements can also be accompanied but strictly only if the voices do not process. The final Alleluia can be repeated as many times as necessary to get the singers to and from their destination.The carols are for three-part children's voices (though, of course they can be sung by female adults as well) and they form a two-part work around a central Interlude for harp which is based on the plainsong from the Procession. Variety is the key word here as all the carols have such individual identities. The forthright Wolcum Yole!, the deliciously lyrical There is no Rose, the swinging Balulalow, the fiery and dramatic This little Babe all contribute to a work which is a feast of discovery throughout. Lovely solos and duos add further colour and the harp part, an inspired choice of accompaniment, enriches, colours and surrounds the voices with its pictorial musical imagery. If anything shows Britten's genius for writing for voices it must be this work.The challenges here are in creating a real equality between voice parts, fielding a confident pair of soloists, and making the most of the wonderfully colourful poems Britten has chosen to set. Pronunciation is not really an issue, but when I recorded this work with the Finzi Singers I decided to follow the example of Sacred and Profane and use authentic medieval pronunciation for which an expert coach was necessary. It brings an added element of colour to a familiar aural experience.Duration: 22 minutesPaul Spicer, Lichfield, 2011.
SKU: OU.9780193870130
ISBN 9780193870130.
For SATB choir, upper voice choir, and organ The composer skilfully creates a dialogue between the upper-voice choir (or two-female soloists) and SATB choir. O praise the gracious power is especially appropriate for services with a theme of peace and unity.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: CF.CM9007
ISBN 9780825864049. UPC: 798408064044. 6.875 X 10.5 inches. Text: Ken Berg. Ken Berg.
This heart-stoppingly lovely folk song setting shows the remarkable musicality of arranger Ken Berg. Written for the Brevard County Middle School All-County Chorus, this is classic choral writing at its best. Opportunities for solo singer (male or female) are included. The piano part is unusually sensitive and well thought out.
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