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Aulis Sallinen: Barabbas Dialogeja (Barabbas Dialogues) Op.84: Ensemble: Vocal
Choral
[Sheet music]
Novello & Co Ltd.
Aulis Sallinen?s Barabbas Dialogues was commissioned by Naantali Music Festival....
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Aulis Sallinen?s Barabbas Dialogues was commissioned by Naantali Music Festival.It received its first performance on 11 June 2004 at Naantali Church(part of the Naantali Music Festival) with Mari Palo (soprano) Riikka Rantanen (mezzo) Topi Lehtipuu (tenor) Petteri Salomaa (baritone) Juha Kotilainen (bass) Kalle Holmberg (narrator) Ralf Gothoni (conductor and piano) Mika Väyrynen(accordion) Elina Vähälä (violin) Arto Noras (cello) Petri Alanko (flute) Michel Lethiec(clarinet) and Ari-Pekka Mäenpää (percussion)
19.99 GBP - Sold by Musicroom UK
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Johann Sebastian Bach: St Matthew Passion: Mixed Choir: Score
Choral
Barenreiter
Autograph: Staatsbibliothek zu Berlin - Preußischer Kulturbesitz-?I have never ...
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Autograph: Staatsbibliothek zu Berlin - Preußischer Kulturbesitz-?I have never experienced such silence or seen an audience moved in this way.?(Felix Mendelssohn Bartholdy)Up to the present day there has scarcely been a work in the history of music which has fascinated listeners and performers more than Bach?s ?St Matthew Passion?. Originally composed for Vespers on Good Friday and even longer in duration than the ?St John Passion? it reconstructs the story of Christ?s Passion with immense musical emotional and spiritual intensity.And so this monumental and complex composition has come to rank amongst the high points of Western culture. For good reason the ?rediscovery? of Johann Sebastian Bach?s music began in 1829 with theperformance of this work by Felix Mendelssohn Bartholdy and the Berlin Singakademie.The autograph manuscript is regarded as one of Bach?s most beautiful the fair copy demonstrates the importance he attached to the careful preservation of the work for posterity. A further special feature is the coloured ink with which he wrote the biblical text and the music of the chorale ?O Lamm Gottes unschuldig?.This facsimile edition reproduces the autograph score of the ?St Matthew Passion? for the first time in high-quality colour printing. The Bach specialist Christoph Wolff introduces the background to the work?s composition and the characteristics of the manuscript.Martina Rebmann (Staatsbibliothek zu Berlin) provides further details regarding the history of the autograph manuscript; with a preface by Barbara Schneider-Kempf general director of the Staatsbibliothek.BÄRENREITER FACSIMILEThe seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms.The distinguishing features include:- a facsimile in high-quality colour printing- scholarly commentary- attractive cover designFacsimile of the authograph score in the Staatsbibliothek zu Berlin - Preussischer Kulturbesitz.With a commentary by Christoph Wolff Martina Rebmann and Barbara Schneider-Kempf.Documenta musicologica II 47166 pages of facsimile and approx. 30 pages commentary (Eng/Ger)Format: 37.5 x 24cm; Half-leather binding hardbackISBN 978-3-7618-2294-4
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Europa Cantat Junior 2
Choral
Moseler Verlag
Edition de Gerhardt Roth - Helmut Steger Contenu : Anonymus: Taivas on sinine...
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Edition de Gerhardt Roth - Helmut Steger Contenu : Anonymus: Taivas on sininen / Blau ist der Himmel C.-B. Agnestig: Vem kan segla für utan vind J. Brahms: Ich hörte ein Sichlein rauschen W. Buchenberg: Goli goggoli (Vocalise) B. Chilcott: Can you hear me M. Detterbeck: Nginesi ponono U. Führe: This calypso: Swing the arms and roll the hips G.F. Händel: Gavotte (Vocalise) G. Helbling: Barabba Ba (Vocalise) R. Heyden: Es flog ein kleins Waldvögelein J. Holdstock: Calypso: Any time you need a calypso (Kanon) W. Keller: Der Mond ist aufgegangen A.E. Kopp: Ihr kleinen Vögelein (Lied) A. Koszewski: Ad musicam: Vivat, vivat, musica (Kanon) H. Langhans: Kommt zum Singen / Come and join us O. Laub: Abendstille überall (Kanon) - Den som ej kan træffe rent / If your intonation's bad (Kanon) K. Nystedt: Velsignet vaere han / Gelobt sei, der da kommt M. Praetorius: Jubilate Deo / Singet dem Herren (Kanon) - Viva, viva la musica (Kanon) G. Roth: Ayelevi P.E. Ruppel: Cantate Domino (Kanon) J.A.P. Schulz: Der Mond ist aufgegangen (Lied) R. Sund: Sana sananina T. Tallis: All praise to thee / Dank sei dir, Gott M. Uherek: Cerné oci dete spát / Schwarze Augen schlaft nun ein F. Werner: Das schöne Wort: Scheiden müssen bringt bittre Pein G. Wolters: O du schöner Rosengarten
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Polifonia Popular Cantabra
Español
Choral
[Sheet music]
Real Musical
Toda mi obra coral inspirada en el folklore de mi tierra Cántabra, he de confes...
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Toda mi obra coral inspirada en el folklore de mi tierra Cántabra, he de confesar que ha sido para mà como un juego, o paseo, de placer, escrita sin prisas, sin la imposición que conlleva el encargo o la obligación de escribir como Ãntima necesidad ca.Ronda en Salines (popular Cantabria) - Las barandillas del puente (popular Cantabria) - Tengo de subir (popular Asturias) - Despedidas (Adiós Amigos)/ Recueil / Choeur
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Interludes
Choral
Jobert
Ces courtes pièces sont destinées à être chantées entre les oeuvres d'un pr...
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Ces courtes pièces sont destinées à être chantées entre les oeuvres d'un programme, afin de lui conférer une forme globale cohérente. Elles ne peuvent donc pas être jouées à la suite les unes des autres. L'ordre sera défini en fonction des autres pièces. Elles peuvent éventuellement servir de prélude ou d'épilogue.On aura soin d'utiliser l'espace d'écoute inutilisé pour les autres pièces du concert et de disposer les chanteuses en fonction des indications ci-dessous. Lors de la création, c'est l'espace situé derrière l'auditoire qui fut donc investi.Dans Opium des Volkes, la troisième voix est frontale, la première est loin derrière et s'en rapproche, tandis que la seconde est placée à côté au début de la pièce, mais s'en éloigne progressivement. Le dispositif spacial pourra s'adapter au lieu, sachant qu'il doit suivre le contrepoint de vitesse. Dans Cloche, les trois groupes sont proches les uns des autres. Dans Wo bisch ?, les trois voix sont regroupées pour s'espacer par étapes. A 28, les 3 groupes sortent progressivement de scène. Dans Sirènes, les trois groupes sont espacées puis se regroupent pour chanter l'alarme finale.Les interludes pour choeur sont dédiés à Candice Barjat, Barbara Barnoud, Béryl Brosse, Agathe Didier, Lucilie Faure-Balard, Amélie Tournaire et Jacques Berthelon. Ils ont été créés à Pfaffenheim en août 2006. / Choeur
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