SKU: CF.CM9563

ISBN 9781491153635. UPC: 680160911134. 6.75 x 10.5 inches. Key: G minor. Latin, English. Hidegard Von Bingen transcribed by Michael John Trotta.

Trotta's composition is an energetic reimagining of timeless text and tune from the 12th century poet, composer, and philosopher Hildegard of Bingen. The marriage of the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works) creates an entirely new work that expresses themes of empowerment. There is a reflective sense of the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.
This commissioned work for womens choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women’s choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment.An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish.I am the great and fiery force,That breathes life into all things:I am what awakens and supports lifeAnd enkindles all living thingsI am the great and fiery force,That breathes life into all things:Everything in the cosmosIs encircled with my wisdom.I am the beauty in the fields,The force, that moves like a graceful windI shine in the waters, and burn in the sun,Glimmering in the stars.Caritas abundat in omnia (Grace abounds for everyone)[Liber Divinorum Operum (The Book of Divine Works), I.I.2].

SKU: PR.16400261S

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

SKU: BT.MUSAM1008029

ISBN 9781783055364. English.

The Complete Guitar Player Acoustic Songbook features a huge collection of 50 acoustic hits from all genres for Guitar. Each song includes full lyrics and Guitar chords as well as strumming and picking patterns, making this perfect for the aspiring acoustic Guitarist. Every song included in this Guitar songbook is a bona fide acoustic classic, perfect for singalongs at parties or just a strum on a summer's day in the park. Songs like Hey, Soul Sister   by Train, Wonderwall  by Oasis and Ho Hey   by The Lumineers represent the best in unplugged and fun chill-out music. 'The book is designed to be accessible and enjoyable, showcasing the best songs by the best songwriters like Bob Dylan, Mumford & Sons, The Beatles and Adele. Songs from the past and the present are included, so there will be something for everyone in this acoustic songbook. Each song has been carefully arranged for Guitar and Voice, including the melody, lyrics and Guitar chord shapes. Not only this, but there are also suggested strumming or picking patterns to help you nail the exact sound of the song straight away. This acoustic Guitar songbook is ideal for beginners and intermediate Guitarists looking to expand their repertoire with acoustic songs new and old, whereas absolute beginnersnew to the Guitar might find that the four books of the famous Complete Guitar Player series by Russ Shipton will help them out with the basics.  With these 50 acoustic Guitar songs, you'll be singing, strumming andfingerpicking your way through the folk, pop and rock canon in no time at all. The Complete Guitar Player Acoustic Songbook would make a stellar addition to any guitarist's bookshelf, and every one of these great songs will make sure that everyone is singing along.

SKU: CA.4065714

ISBN 9790007085315. Key: B flat major. Language: Latin.

With a total duration of about 30 minutes, Schubert's Mass in B flat major (D 324), written in 1815, is considerably longer than Mozart's and Haydn's classical Brevis masses, and its large instrumental ensemble with strings, woodwinds, brass and timpani even gives it a clearly solemn character. Overall, Schubert was inspired by the late Haydn style of the symphonic mass (e.g., the division into six large movements, the omission of arias for the vocal soloists who are instead juxtaposed with the choir, singing short passages either singly or as a group) without, of course, achieving its temporal expansion. This is a representative, musically appealing work that excels with its multi-layered, detailed text treatment. It is, therefore, suitable for special occasions and the high feasts of the church year and can be mastered well by experienced church choirs. Score and part available separately - see item CA.4065700.