(The Incomparable Artistry of Angel Romero). By Angel Romero. Guitar Recorded Version. Softcover. Guitar tablature. 72 pages. Published by Hal Leonard

Choral (SAB Choir)

SKU: HL.1418816

Arranged by John Leavitt. Sacred Choral. Christmas, General Worship, Sacred. Octavo. Duration 160 seconds. Published by Hal Leonard (HL.1418816).

UPC: 196288197973. 6.75x10.5x0.019 inches. Luke 1:26-38.

This lesser-known carol receives special treatment in an artful rendition. Offered with the option of a charming chamber orchestration, the seasonal offering is ideal for community choir concerts or lessons and carols programs. The text presents the angelic visitation to Mary and fills an important liturgical slot for church choir directors. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.

(The Art of Classical Guitar). By Angel Romero. Instructional/Guitar/DVD. DVD. Published by Hal Leonard

Choral (ShowTrax CD)

SKU: HL.124746

By The Andrews Sisters. Arranged by Jill Gallina. Secular Christmas Choral. Christmas, Holiday, Oldies, Secular, Show Choir. CD only. Published by Hal Leonard (HL.124746).

UPC: 884088984175. 5x5 inches.

Sweet Angie, the Christmas Tree Angel, wishes you a very, very, merry, merry Christmas, from the tippy top of the tree! Recorded by the Andrews Sisters, this 1950's classic makes a charming holiday showcase for treble choirs of all ages!

Guitar

SKU: HL.14030951

For Guitar. Composed by Bent Sorensen. Music Sales America. Classical. Book [Softcover]. 2 pages. Edition Wilhelm Hansen #KP00857. Published by Edition Wilhelm Hansen (HL.14030951).

ISBN 9788759851937. 10.5x14.5x0.423 inches. English.

Work for Guitar. The composer writes: 'The title of this tiny little piece came to me out of my fascination of a picture by the French painter Jean-Francois Millet, entitled L'ANGELUS It features two praying people listening to the evening bells. My Angelus-Bells were later on squeezed into a waltz-like rhythm. The piece was written by request of and is dedicated to David Starobin.'.

Based on Angels from the Realms of Glory. Arranged by Eric Robertson, Robert Longfield. (Score and Parts). Score and full set of parts. Canadian Brass Concert Band. Published by Canadian Brass.

String Quartet

SKU: HL.14030980

Parts. Composed by Bent Sorensen. Music Sales America. Classical. Set of Parts. Edition Wilhelm Hansen #KP00249. Published by Edition Wilhelm Hansen (HL.14030980).

ISBN 9788759871973. 12.0x16.0x0.285 inches.

Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.

(From the motion picture Angelas Ashes) By John Williams. Full score (spiral bound) for orchestra. Series: John Williams Signature Edition. 32 pages. Published by Hal Leonard.

Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angels Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angels Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part ofthe piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angels Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the small cells into the general pattern.'

(Angels We Have Heard on High/Hark! The Herald Angels Sing). By Mark Hayes. For SATB choir, piano (miscellaneous Brass, percussion, congregation). Christmas. Octavo. Published by Lorenz Publishing Company