SKU: JK.01870
Luke 2.
Thoughtful Christmas piece for double mixed chorus (SSAATTBB), violin, and piano, written in F major (one flat). Violin part is included.Dear, precious Savior, born that holy night...I've no earthly treasure, what have I for thee?...What I have, I offer, I offer thee my heart. Composer: Kay Hicks Ward Lyricist: L. Melvin Ward Difficulty: Medium Performance time: 4:00Reference: Luke 2.
SKU: BT.EMBZ4133
Hungarian.
SKU: CA.3914003
ISBN 9790007182960. Language: German.
Great Baroque church music full of color and powerful imagery! Sing to the Lord a new song! Sing, rejoice and praise his holy name with the trumpets and cornetts! And nature shall join in, the seas shall rage, and the whole world and the rushing waters rejoice. This is such an ideal text for Telemann: The voices rejoice and praise together with the horns, harp, and trombones; and the choir and instruments make the sea roar, the earthquake tremble and the rivers and mountains exult. Score available separately - see item CA.3914000.
SKU: D1.SM-20-0001
8.5 x 11 inches.
Twelve miniatures for piano. Incorporates contemporary techniques and notation. Seven-spotted Ladybug, Moth, Gnat, Fire Ants, Daddy Long Legs, Pill Bug, Cicadas, Tarantula, Wasp, Earthworm, Fireflies, Black Widow.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: HL.48025396
UPC: 196288195481.
“In 2006 Kylie Kwong who is the ambassador for the Fair Trade Association of Australia and NZ asked me to write a piece for Fair Trade event, she asked for something earthy and poetic and she told me a lot about what Fair Trade stands for. This piece grew out of the many impressions of the stories of people growing coffee and sugar in harsh circumstances, transporting the produce on difficult roads. At the same time I wanted to give it a sense of optimism and hope. There are versions of it for Viola and Piano, Violin and Piano, as well as Piano solo. Version for string quartet composed 2007.†(Elena Kats-Chernin).
SKU: LO.99-4043L
UPC: 000308154030.
Performance/accompaniment CD for 10/5333L Marty Parks uses the beloved COVENTRY CAROL as the basis for his original lyric: Your humble birth, Your matchless worth; Jesus, God with us. No earthly crown, no great renown; Jesus, God with us. Redeemer King, of whom angels sing; Jesus, God with us. Equally inspiring with piano accompaniment or the optional string quartet, this is a stunning addition to Christmas worship or concert repertoire.
SKU: CA.5199200
ISBN 9790007186647. German. Text: van Swieten, Gottfried.
Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.
SKU: WD.080689579233
UPC: 080689579233.
New from Kenna Turner West and Sarah Davison, Christ, My Hope, My Glory, expertly crafted by arranger and orchestrator extraordinaire Jay Rouse, is destined to become not only a powerful addition to your Easter worship lineup, but a classic favorite in your choral library. Christ, My Hope, My Glory reminds us our hope is found in nothing of this world–not in temporal things, earthly treasures, or fleeting pleasures–compelling your congregation to surrender themselves at the foot of the cross. Christ alone is our hope and our glory. Our hope is built on nothing less!
SKU: SU.91120011
Instrumentation: 22 3,ebcl,bcl 2; 2asx,tsx,bsx; 4341 euph; timp, perc, cel; cb Duration: 3'30 Composed: 2013 Published by: Subito Music Publishing To Dr. Joseph Missal and the Oklahoma State University Wind Ensemble for their performance at the 2013 Japan Band Clinic, in honor of the resilient spirit of Japan and of the lives lost and those changed forever by the 2010 tsunami and earthquakes.
SKU: AP.48513
UPC: 038081553368. English.
A certified gold crossover hit! When the bones are good, the rest don't matter. The paint could peel, the glass could shatter. A house becomes an effective symbol for an enduring relationship in this solid pop ballad from Maren Morris. This right-from-the-radio arrangement captures all of the earthy harmonies and keeps the strong backbeat groove intact.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: HL.373819
ISBN 9781705149898. UPC: 196288016618. 6.75x9.25x0.146 inches.
The 29-year-old Franz Schubert composed his German Mass (D 872) in 1826 at the request of Johann Philipp Neumann, who also wrote the text with the original title “Songs for the celebration of the holy sacrifice of the Mass.†Its name derives from the the fact that - unlike most sacred works of the time - the German language is used. Its great popularity can be explained primarily by the straighforward and memorable music of Schubert; in addition, the German texts, in contrast to the traditional Latin Mass texts, focus on people with their earthly worries and needs, which certainly reflected Schubert's own religious convictions. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: PE.HX9017S
Let the rhythm section lay down an earthy groove in half-time funk. The horns ride along with a bluesy melody that builds to a great stop-time. Modest ranges all around with reduced instrumentation (3 Saxes, 2 Trumpets, 1 Bone) keep it within reach of smaller groups, while extra parts for Flute, Clarinet, Horn, Baritone T.C., and Tuba add flexibility. Solo transcriptions are provided that match the recording, along with easier versions of those solos to give younger players a starting point. A hip, fun, and memorable chart. (Top Trumpet Note: D5).
