| I'm a Sinner Man Choral SATB SATB, Keyboard [Octavo] Carl Fischer
By Vicki Tucker Courtney. For SATB choir, Keyboard. Octavo. 12 pages. Duration 2...(+)
By Vicki Tucker Courtney. For SATB choir, Keyboard. Octavo. 12 pages. Duration 2 minutes, 12 seconds. Published by Carl Fischer
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| The Peanuts Movie - Choral (SATB) Choral SATB SATB [Octavo] Hal Leonard
Choral Highlights. Composed by Breyan Isaac, Frederick Hibbert, Jamie Sander...(+)
Choral Highlights. Composed
by Breyan Isaac, Frederick
Hibbert, Jamie Sanderson,
Jimmy Marinos, Meghan
Trainor, Mike Skill, Miles
Beard, Ryan Trainor, Teemu
Brunila, Thaddeus Dixon,
Thomas Troelsen, Tramar
Dillard, Vince Guaraldi,
Vincent Venditto, and Walter
Palamarchuk. Arranged by
Mark A. Brymer. Pop Choral
Series. Octavo. Published by
Hal Leonard
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Jesus in a Manger Came - SATB Choral SATB SATB, Piano [Octavo] Jackman Music Corporation
Composed by Kristen Allred. For SATB choir and piano. Christmas. Medium. Octavo....(+)
Composed by Kristen Allred. For SATB choir and piano. Christmas. Medium. Octavo. Duration 4 minutes. Published by Jackman Music Corporation
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| Soar Away Choral SATB SATB divisi, A Cappella Laurendale Associates
Composed by A. M. Cagle and George Clinton. Arranged by George Clinton. Octavo. ...(+)
Composed by A. M. Cagle and George Clinton. Arranged by George Clinton. Octavo. Duration 2 minutes. Laurendale Associates #CH-1024. Published by Laurendale Associates (MN.CH-1024).
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| I'm Gonna Sing Choral SATB SATB, Piano [Score] Theodore Presser Co.
Choral SATB choir, piano SKU: PR.312418400 For Solo Voice (Or Ensemble...(+)
Choral SATB choir, piano SKU: PR.312418400 For Solo Voice (Or Ensemble), S.A.T.B. Chorus, and Piano. Composed by Anonymous. Arranged by H. Smith. Choral. Score. With Standard notation. Composed 2003. Duration 3 minutes. Theodore Presser Company #312-41840. Published by Theodore Presser Company (PR.312418400). UPC: 680160051908. Key: D major. $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I'm Standing with You (from Breakthrough) Choral SATB Hal Leonard
By Chrissy Metz. By Diane Warren. Arranged by Mac Huff. Pop Choral Series. In...(+)
By Chrissy Metz. By Diane
Warren. Arranged by Mac
Huff. Pop Choral Series.
Inspirational, Movies, Pop,
Show Choir. Octavo. 16
pages. Published by Hal
Leonard
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Crossing the Bar Choral SATB SATB, Piano Carl Fischer
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608). ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892). The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray. $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Eyesight Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. ...(+)
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. Ars Nova Chamber Singers, Boulder CO. Performance Score. With Standard notation. Composed 7-Feb. 8 pages. Duration 3 minutes. Theodore Presser Company #342-40207. Published by Theodore Presser Company (PR.342402070). ISBN 9781491111253. UPC: 680160643226. Octavo inches. Text: Archibald R. Ammons. Archibald Ammons. Text by A.R. Ammons. To benefit Chorus America, Stucky allowed himself to be auctioned off as a prize - the high bidder would receive a new work from the composer. After a few years and not really hearing anything, Stucky suddenly found himself up against a deadline. He reached back to a favorite poem by A.R. Ammons, Eyesight, which, he says, Won't let...his reader rest till the very last word...one of those sudden insights that leave us breathless.. This piece has an odd history. A few years ago, I agreed to be one of the“prizes†in an auction to benefit Chorus America: the highest bidder wouldget a new piece from me, while their money went to the organization. Thewinning bid came from a collection of several professional choruses anddirectors. But I was always a little vague about the details, and, hearingnothing more about it for a few years, forgot the whole thing.One day I received a message from Thomas Edward Morgan, directorof the Ars Nova Chamber Singers in Boulder: they had scheduled thepremiere of my new piece for a few weeks later, and could they have themusic, please? I needed a text, quickly, and (as usual) I was in a Los Angeleshotel room, not at home with my books. So I turned to the internet andsoon tracked down my favorite poet, A.R. Ammons (1926-2001).Once I stumbled on “Eyesight,†I remembered having loved the poemyears before. Archie must have loved it, too, because he included it bothin his Collected Poems 1951-1971 and in the later Selected Poems. It haseverything you want in an Archie Ammons poem: what Edward Hirschcalled his “offbeat, sideways, unpredictable radiance,†his “homespunglory.†It has one of his trademark conversations with a mountain (perhapsfrom his native North Carolina), it has the fluid motion from one line tothe next (enjambment, if you want to get technical) that won’t let him orhis reader rest till the very last word of the very last line, and it has in thatlast line one of those sudden insights that leave us breathless: “some thingsthat go are gone.â€I miss Archie, but he’s not gone. I’m grateful for the wonderful poems heleft us, and I’m grateful that he was always generous and kind when I hadthe chutzpah to add my music to his. $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem Aeternam Choral SATB SATB, Organ Novello & Co Ltd.
SATB and Organ. Composed by Ian Venables. Music Sales America. Classical. Ch...(+)
SATB and Organ. Composed by
Ian Venables. Music Sales
America. Classical. Choral
Score. 12 pages. Novello & Co
Ltd. #MUSNOV296956. Published
by Novello & Co Ltd.
$3.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Johann Sebastian Bach: Chorales 1-91
Choral SATB SATB [Vocal Score] Schirmer
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider, Charles Boyd. Vocal score book for SATB choir. With vocal score notation (open score in German; closed score in English), introductory text and . Text language English; lyrics in German and English. 127 pages. Published by G. Schirmer, Inc.
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| Canone ed Ostinato and Corale con Canto Choral SATB Boosey and Hawkes
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen ba...(+)
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen basiliense. Composed by Benjamin Britten. Boosey & Hawkes Sacred Choral. Classical. Octavo. 16 pages. Boosey & Hawkes #M051482474. Published by Boosey & Hawkes (HL.48021234). ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches. Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.
Publisher: Boosey & Hawkes
Difficulty level: 4 (for chorus)
Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.
There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.
This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.
Duration: 21 minutes
Paul Spicer, Lichfield, 2011. $2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Omnia tempus habent Choral SATB [Score] - Intermediate/advanced Carus Verlag
SATB choir divisi, cello - Level 4 SKU: CA.738630 Liber Ecclesiastes(+)
SATB choir divisi, cello - Level 4 SKU: CA.738630 Liber Ecclesiastes. Composed by Carl Orff and Michael Waldenby. Contemporary Choir Music. Sacred vocal music. Full score. Op. 49, No. 3. 16 pages. Duration 9 minutes. Carus Verlag #CV 07.386/30. Published by Carus Verlag (CA.738630). ISBN 9790007165444. Language: Latin. The composition of Verba Ecclesiastes begun in 2002 as a result of a comission from my friend Gary Graden. For many years I've found those words from the Old Testament very fascinating - as everyone knows, I'm not alone. Vanity of vanities! All is vanity! Writers, painters and filmmakers have for centuries been dealing with the subject and I found it high time to set the famous words to music. The suite, for soloists, choir and violoncello, consists of six movements, each one enlighting a different view of life and afterlife, and also, as Matthew Arnold puts it of human misery. Yet the suite is full of hope and humanity, specially recognizable in the two central parts, Dulce lumen and Omnia tempus habent. The music was completed in 2009. (Michael Waldenby). $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Omnia tempus habent Choral SATB - Intermediate/advanced Carus Verlag
SATB choir divisi, cello - Level 4 SKU: CA.738631 Liber Ecclesiastes(+)
SATB choir divisi, cello - Level 4 SKU: CA.738631 Liber Ecclesiastes. Composed by Carl Orff and Michael Waldenby. Contemporary Choir Music. Violoncello. Sacred vocal music. Single Part, Cello. Op. 49, No. 3. 4 pages. Duration 9 minutes. Carus Verlag #CV 07.386/31. Published by Carus Verlag (CA.738631). Text language: Latin. The composition of Verba Ecclesiastes begun in 2002 as a result of a comission from my friend Gary Graden. For many years I've found those words from the Old Testament very fascinating - as everyone knows, I'm not alone. Vanity of vanities! All is vanity! Writers, painters and filmmakers have for centuries been dealing with the subject and I found it high time to set the famous words to music. The suite, for soloists, choir and violoncello, consists of six movements, each one enlighting a different view of life and afterlife, and also, as Matthew Arnold puts it of human misery. Yet the suite is full of hope and humanity, specially recognizable in the two central parts, Dulce lumen and Omnia tempus habent. The music was completed in 2009. (Michael Waldenby). $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Litaniae Lauretanae B. M. V. B flat major, KV 109 (74e) Choral SATB Barenreiter
SATB Choir (Mixed choir (SATB)) SKU: BA.BA04890-91 Composed by Wolfgang A...(+)
SATB Choir (Mixed choir (SATB)) SKU: BA.BA04890-91 Composed by Wolfgang Amadeus Mozart. Edited by Hellmut Federhofer. Arranged by Martin Focke. This edition: urtext edition. Stapled. Barenreiter Urtext. Choral score. K. 109 (74e). 15 pages. Duration 30 minutes. Baerenreiter Verlag #BA04890_91. Published by Baerenreiter Verlag (BA.BA04890-91). ISBN 9790006459421. 27 x 19 cm inches. Key: B-flat major. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Funny Girl Highlights Choral SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.50294 I'm the Greatest Star * Peopl...(+)
Choir Secular (SATB choir) SKU: AP.50294 I'm the Greatest Star * People * Don't Rain on My Parade. Composed by Jule Styne. Arranged by Lisa DeSpain. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Form: Medley. Broadway; Secular. Choral Octavo. 16 pages. Alfred Music #00-50294. Published by Alfred Music (AP.50294). UPC: 038081574646. English. Words by Bob Merrill. Hello, gorgeous! Fans of Lea Michelle rejoiced when the Glee star joined the first-ever Broadway revival of this Streisand star vehicle, which introduced the showbiz score to a whole new generation. Lisa DeSpain's pizzazy arrangement includes three beloved songs in just four minutes. $2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Without Form and Void Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION by Franz Joseph Haydn. Composed by Dan Welcher. Sws. Premiered at the Northwest Hills United Methodist Church, Austin, TX. Choral. Performance Score. With Standard notation. Composed July 5 2014. 16 pages. Duration 5:15. Theodore Presser Company #362-03423. Published by Theodore Presser Company (PR.362034230). ISBN 9781598069556. UPC: 680160624225. Letter inches. English. When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental. When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear. $3.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two Poems Choral SATB - Intermediate Barenreiter
SATB Choir (Mixed choir (SATB)) - Level 3 SKU: BA.BA08524 Composed by Mar...(+)
SATB Choir (Mixed choir (SATB)) - Level 3 SKU: BA.BA08524 Composed by Marten Jansson. Stapled. Choral score, anthology. 14 pages. Duration 8 minutes. Baerenreiter Verlag #BA08524_00. Published by Baerenreiter Verlag (BA.BA08524). ISBN 9790006564194. 27 x 19 cm inches. Text Language: Swedish, English. Text: Kerstin Dillmar. “Triptyk†(“Triptychâ€) and “MörkblÃ¥ tillit†(“Dark Blue Trustâ€) have been written by hospital chaplain/author Kerstin Dillmar.
In her work she often meets people who walk in the shadow of death and her dealings and thoughts about this are a central part of her writing. This is most clearly seen in “MörkblÃ¥ tillit†whose key message is to trust that we will be safe and secure after passing away in sleep. Jansson’s intention with the music was to enhance this feeling of comforting trust without taking away the seriousness of the subject. “Triptyk†on the other hand describes a journey within a person in three stages which moves from despair, “God, my God why have I forsaken myself?â€, through to hope and faith that God is within. The music depicts these stages, starting with a dark-searching tonality, then describing the simple beauty of trust through to a joyful expectation of hope and ending with a strong conviction.
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Saul HWV 53 Choral SATB - Intermediate/advanced Barenreiter
Solo voices, choir, orchestra (2 Soprano Voice Solo, Alto Voice Solo, 5Tenor Voi...(+)
Solo voices, choir, orchestra (2 Soprano Voice Solo, Alto Voice Solo, 5Tenor Voice Solo, 3Bass Voice Solo, SATB Choir, 2 Fl, 2 Ob, 2 bassoon, 2 Trp, 3trombone, timpani, Glsp, Str, Continuo) - Level 4 SKU: BA.BA04020 Oratorio in three acts. Composed by George Frideric Handel. Edited by Percy M. Young. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series I, Volume 13. Complete edition, Score. HWV 53. Duration 2 hours, 30 minutes. Baerenreiter Verlag #BA04020_00. Published by Baerenreiter Verlag (BA.BA04020). ISBN 9790006443055. 33 x 26 cm inches. Text Language: English, German. Translation: Walther Siegmund-Schultze, Walther. Charles Jennens. Saul was given its first performance under Handel’s direction at the Haymarket Theatre, London, on 16 January 1739. The original libretto (dated 1738) refers to the work as “an Oratorio or Sacred Dramaâ€. This libretto was written by Charles Jennens (1700–1770), a wealthy amateur writer from Gopsall, Leicestershire. A letter of 28 July 1735 from Handel to Jennens suggests that a complete raft of the text already existed at that time.
Saul occupies an extraordinarily important position in the English oratorio tradition that Handel brought to perfection, standing alongside Israel in Egypt at the end of the first creative period of such works.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$562.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Du bist min Choral SATB [Score] - Easy Carus Verlag
SATB chorus divisi, Soprano Sax (Clt), piano - Grade 2 SKU: CA.928400 ...(+)
SATB chorus divisi, Soprano Sax (Clt), piano - Grade 2 SKU: CA.928400 Mittelalterliches Liebeslied. Composed by Wolfgang Konig. Carus digital: Extra digital products. Dû bist mîn. Full Score. Composed 2020. Duration 3.5 minutes. Carus Verlag #928400. Published by Carus Verlag (CA.928400). ISBN 9790007301002. German. Dû bist mîn is probably the best-known love song written in old German that has survived from the Middle Ages. It is often attributed to the famous poet Walther von der Vogelweide, who died around 1230. Unfortunately, the original 12th-century melody to which these verses were possibly has not been handed down. In his setting, Wolfgang König (*1947) delightfully interweaves the sounds of the medieval period with 21st-century music. Parallel fifths are juxtaposed with major-minor harmonies and saxophone solos embellish the choral movements that are also supported by a simple piano accompaniment. The choir consists of six voices divided into two groups. The antiphonal calls between the male and female singers mirror the love song's text: “Dû bist min, ich bin dîn: des solt dû gewis sîn†(You are mine; I am thine; of this you can be sure). $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Du bist min Choral SATB - Easy Carus Verlag
SATB chorus divisi, Soprano Sax (Clt), piano - Grade 2 SKU: CA.928421 ...(+)
SATB chorus divisi, Soprano Sax (Clt), piano - Grade 2 SKU: CA.928421 Mittelalterliches Liebeslied. Composed by Wolfgang Konig. Dû bist mîn. Single Part, soprano saxophone. Composed 2020. Duration 3.5 minutes. Carus Verlag #928421. Published by Carus Verlag (CA.928421). ISBN 9790007302146. German. Dû bist mîn is probably the best-known love song written in old German that has survived from the Middle Ages. It is often attributed to the famous poet Walther von der Vogelweide, who died around 1230. Unfortunately, the original 12th-century melody to which these verses were possibly has not been handed down. In his setting, Wolfgang König (*1947) delightfully interweaves the sounds of the medieval period with 21st-century music. Parallel fifths are juxtaposed with major-minor harmonies and saxophone solos embellish the choral movements that are also supported by a simple piano accompaniment. The choir consists of six voices divided into two groups. The antiphonal calls between the male and female singers mirror the love song's text: “Dû bist min, ich bin dîn: des solt dû gewis sîn†(You are mine; I am thine; of this you can be sure). $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| La vie anterieure Choral SATB SATB, Piano [Score] - Intermediate Carus Verlag
SSATB Choir, Piano - Level 3 SKU: CA.925000 Composed by Henri Duparc. Arr...(+)
SSATB Choir, Piano - Level 3 SKU: CA.925000 Composed by Henri Duparc. Arranged by Denis Rouger. Separate edition to the CD. Lieder, Secular choral music. Full Score. Duration 5 minutes. Carus Verlag #CV 09.250/00. Published by Carus Verlag (CA.925000). ISBN M-007-24902-1. Key: E flat major. Language: French. Text: Baudelaire, Charles. The harmonic turns and piano configurations in La vie anterieure - the former life - seem almost exuberantly lyrical. At the beginning, the archaic sounds and words of the male choir conjure up a dream world that is soon flooded with the power of the waves and the rich polyphonic harmony of the choir and the piano. With the outcry C'est la que j'ai vecu! [I have lived there] which expresses the fervent yearning to return to a past life, the collective desperately reinforces the longing for the past. Once more, the women's choir conjures up this lost paradise in an undulating soft sound before the desolate sadness is pierced by the power of the music of the piano postlude, creating a moment that is completely in the present. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500911 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500911 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Violin 1. Sacred vocal music, Masses, Latin. Part. Duration 12 minutes. Carus Verlag #CV 35.009/11. Published by Carus Verlag (CA.3500911). ISBN M-007-25279-3. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500913 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500913 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Viola 1. Sacred vocal music, Masses, Latin. Single Part, Viola 1. Duration 12 minutes. Carus Verlag #CV 35.009/13. Published by Carus Verlag (CA.3500913). ISBN M-007-25281-6. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500919 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500919 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Complete orchestral parts. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Duration 12 minutes. Carus Verlag #CV 35.009/19. Published by Carus Verlag (CA.3500919). ISBN M-007-25284-7. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $73.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500912 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500912 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Violin 2. Sacred vocal music, Masses, Latin. Part. Duration 12 minutes. Carus Verlag #CV 35.009/12. Published by Carus Verlag (CA.3500912). ISBN M-007-25280-9. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500903 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500903 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Sacred vocal music, Masses, Latin. Vocal score. Duration 12 minutes. Carus Verlag #CV 35.009/03. Published by Carus Verlag (CA.3500903). ISBN M-007-24549-8. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB [Score] Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500900 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500900 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Sacred vocal music, Masses, Latin. Full Score. Duration 12 minutes. Carus Verlag #CV 35.009/00. Published by Carus Verlag (CA.3500900). ISBN M-007-24548-1. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $32.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500949 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500949 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Organ. Sacred vocal music, Masses, Latin. Part. Duration 12 minutes. Carus Verlag #CV 35.009/49. Published by Carus Verlag (CA.3500949). ISBN M-007-24550-4. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500914 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500914 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Viola 2. Sacred vocal music, Masses, Latin. Single Part, Viola 2. Duration 12 minutes. Carus Verlag #CV 35.009/14. Published by Carus Verlag (CA.3500914). ISBN M-007-25282-3. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Missa in G minor from Johann Sebastian Bach's music library Choral SATB Carus Verlag
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500915 Composed ...(+)
SATB Choir, 2 Violins, 2 Violas, Basso continuo SKU: CA.3500915 Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Basso continuo. Sacred vocal music, Masses, Latin. Single Part, basso continuo. Duration 12 minutes. Carus Verlag #CV 35.009/15. Published by Carus Verlag (CA.3500915). ISBN M-007-25283-0. Latin. This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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