SKU: CF.CM9625

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

SKU: HL.49047317

ISBN 9798350121902. UPC: 196288201052.

This cello sonata by the renowned jazz pianist and professor of jazz piano unites in a certain way “the best of two worlds”: melodies, sophisticated harmonies and rousing rhythms, which are also convincing in a pure jazz context, are fused here with a formal language and movement techniques that are oriented towards classical models. The voices of both instruments are interwoven on an equal footing and take the listener on an exciting musical journey from the very first moment, which finds its virtuoso climax in the lively rondo via a classical sonata main movement and a quiet middle movement.

SKU: HL.49046442

ISBN 9781540094780. UPC: 842819113003.

The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.

SKU: CA.2100700

ISBN 9790007142179. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751.

SKU: HL.49019869

ISBN 9790001193726. UPC: 841886021037. 9.0x12.0x0.049 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

SKU: HL.49019867

ISBN 9790001193702. UPC: 841886021013. 9.0x12.0x0.051 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

SKU: HL.49019839

ISBN 9790001193498. UPC: 841886021051. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

SKU: HL.49045225

ISBN 9790001129602. 9.0x12.0x0.122 inches. French.

If a chanson is combined with a birthday celebration (in this case, that of the Ensemble Utopik who commissioned this new work), this inevitably brings back scenes of childhood. For me, Adieu Madras conjures up memories of the homeland of my family, and in particular Henri and Jacqueline Salvador whose wonderful TV programmes I watched during the 1970s. It is without doubt thanks to Henri Salvadors wonderful interpretation that this old chanson from Martinique, dating from the late eighteenth century and almost a national anthem both in Martinique and Guadeloupe, has also gained such popularity in France. Thierry Pecou.

SKU: HL.48187593

UPC: 888680984359. 9.0x12.0x0.048 inches.

“Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.”.

SKU: CA.1240505

ISBN 9790007027766. Language: German.

Score available separately - see item CA.1240500.