SKU: HL.49045739
ISBN 9781540019356.
Georg Kreisler equals scathing, dark black humour on the piano! The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishesthe corresponding music edition for men's choir TTBB with piano accompaniment (Georg Kreisler - Lieder und Chansons, ED 22735). In addition, all songs from the sheet music album are available in separate editions: Who would not like to have blue eyes but has to content oneself with boring grey ones? Das Madchen mit den drei blauen Augen even has three of them which make her lover melt. This pleasant arrangement with Kreisler's humorous text most certainly creates an exuberant atmosphere in the concert.
SKU: HL.49000984
ISBN 9790001005296. 8.25x11.75x0.004 inches. German.
SKU: HL.49026441
ISBN 9790001018920.
SKU: HL.49024638
ISBN 9790001007559. German.
SKU: HL.49025435
ISBN 9790001011112. German.
SKU: HL.49025457
ISBN 9790001011204. German.
SKU: GI.WW1859
UPC: 785147032960. English. Text Source: Matthew 11:28-30.
Come unto me…and ye shall find rest unto your souls. These words, spoken by Jesus, offer the promise of unrivaled rest. This lovely work will be a nice challenge for more advanced TTBB choirs.
SKU: PR.312416820
UPC: 680160050376. 8.5 x 11 inches.
Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year. I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners. They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences. This correlation between speech and music distinguishes folk songs of one region from another. I learned all songs by heart and sang them back in the exams every week. They melted in my blood and became my natural music language. The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire. The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi). I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.  From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music. The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come. In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes. They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.
SKU: GH.WC1600103
ISBN 9790070035118. Text: Povel Ramel.
Arrangemang for blandad kor och komp.
SKU: HL.49027004
ISBN 9790001017701. German.
SKU: HL.49045722
Georg Kreisler equals scathing, dark black humour on the piano! The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishesthe corresponding music edition for men's choir TTBB with piano accompaniment (Georg Kreisler - Lieder und Chansons, ED 22735). In addition, all songs from the sheet music album are available in separate editions: If you open the phone book of Vienna at V, you will find a lot of unreadable Austrian-Hungarian names. If you string all names together, one after the other, like Kreisler did, you will get a telephone polka. With its catchy melody and incredibly funny text, this piece will be the highlight of entertainment in a concert.
SKU: GI.WJMS1177
UPC: 785147019169. Basque. Text by Josu Elberdin.
A Basque love story that reaches across cultures and backgrounds. The story of the love-sick star is brought to life through Josu Elberdin's rich harmonies and memorable melody. Thick textures and interesting harmonic choices will make this a favorite of singers and audiences alike.
SKU: HL.1432574
UPC: 196288203254.
Jeremy Nabors's new new arrangement of a Russian melody is sure to excite your TTBB singers. The low range of the bass and the rhythmic interplay of the other voices, coupled with an energetic accelerando at the end delightfully conjures up the imagery of the spinning blue ball! A real challenge for your singers, this piece will be a thrill for your audience at your next concert or festival!
SKU: PR.312419270
ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: HL.49025456
ISBN 9790001011198. German.
SKU: HL.49013632
ISBN 9790001015110. German.
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