SKU: HL.2050293
UPC: 797242885594. 6.75x10.5x0.351 inches.
The truly blessed are those that can see the miraculous in what others see as mundane. Even more so are those that never lose the wonder of the awesome impact of the sacred. It is part of our nature to allow the most wonderful things in our lives to seem commonplace at times - to take tremendous blessings for granted. King David's prayer, “Restore to me the joy of Your salvation and grant me a willing spirit to sustain me.” (Psalm 51:12) speaks to us in the times and seasons of our own lives.This musical is about the importance of remembering. On the eve of His trial and execution Jesus made it clear that we were to remember Him and His sacrifice. He instituted the sacrament of the Last Supper to be a central part of the Christian faith - a time to gather as His Body and remember.We cannot stand in the distance and casually observe the sacrifice of the Cross. We cannot pretend it did not happen - that it is less than it is proclaimed to be - that it does not touch us or our lives. The Cross is not something that we get used to - not something that we can get comfortable with - not something that we can ever take lightly.Jesus Christ, the Son of God, by His own choice died nailed to a Cross for the sins that you and I committed. May we never forget His sacrifice, may we never fail to fall to our knees in thanksgiving for that kind of love, may we never lose the wonder - the wonder of the Cross.
SKU: BT.HU-4349-250
9x12 inches. German.
The poetry on which this composition is based is the Ballad of External Life (the Ballade des äußeren Lebens) from the pen of Viennese author Hugo von Hofmansthal (1874-1929). He is known for, amongst other things, his libretti for the works of Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) and as founder of the Salzburg Festival. Von Hofmansthal was one of the last of the German Symbolists. Central to this literary movement was the unification of the internal and external worlds. The search for meaning was a cornerstone of this fin-de-siècle movement.In the Ballade des äußeren Lebens (Ballad of External Life), the meaninglessness ofexistence is expressed in restricting, oppressive metaphors—an ambience that is reflected in the music. Ultimately, man is capable of establishing order from seeming chaos. The poet expresses this powerfully in a non-rhyming line of poetry: ‘And yet, he who says “evening” says much, A word, from which profundity and sorrow flow’.This composition follows the overall structure of the ballad, which is written in terza rima—interlocking three-line rhymes.The choral work can be performed by a chamber choir, but also by a much larger ensemble. The parts are mainly in four voices (SATB), although there are also six parts (SAATBB). One chord is arranged for eight voices.The composer conducted this work at its première, to open the 2013 International Choir Biennial in Aachen. The choir was comprised of four chamber choirs: Aachen Youth Choir, Carmina Mundi, Aachen Chamber Choir and Aachen Madrigal Choir. Het dichtwerk waarop deze compositie is gebaseerd, de Ballade des äußeren Lebens (Ballade van het uiterlijke leven), is geschreven door de in Wenen geboren schrijver Hugo von Hoffmansthal (1874-1929), die onder meer bekend is als librettist van Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) en medeoprichter was van de Salzburger Festspiele. Von Hoffmansthal behoorde tot de laatste vertegenwoordigers van het Duitse symbolisme. Deze stroming stelde zich ten doel de innerlijke en uiterlijke wereld met elkaar te verenigen. Zingeving vormde een van de hoofdthematieken binnen deze fin de siècle-cultuur.In de Ballade des äußeren Lebens wordt dezinloosheid van het bestaan verwoord in beklemmende metaforen - een atmosfeer die in de muziek wordt weerspiegeld. Uiteindelijk blijkt de mens toch in staat te zijn orde te scheppen in de schijnbare willekeur. De dichter benadrukt dit in zijn enige versregel zonder rijm: Und dennoch sagt der viel, der “Abend” sagt. De compositie volgt in hoofdlijnen de structuur van de ballade, die in terzinen is opgebouwd.Het werk kan worden uitgevoerd door kamerkoor, maar ook door een veel grotere bezetting. De zetting is voornamelijk vierstemmig (SATB), maar er zijn tevens zesstemmige delen (SAATBB). Een enkel akkoord is zelfs achtstemmig.Het werk ging onder leiding van de componist tijdens de Internationale Chorbiennale Aachen 2013 als openingswerk in première. Het koor was samengesteld uit vier kamerkoren: Der Junge Chor Aachen, Carmina Mundi, Aachener Kammerchor en Der Madrigalchor Aachen. Die Dichtung, auf welcher diese Komposition basiert, ist die Ballade des äußeren Lebens aus der Feder des gebürtigen Wiener Schriftstellers Hugo von Hoffmansthal (1874-1929), der unter anderem als Librettist von Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) und Mitbegründer der Salzburger Festspiele bekannt ist. Von Hoffmansthal gehörte zu den letzten Vertretern des Deutschen Symbolismus. Diese literarische Richtung machte sich zur Aufgabe, die innere und die äußere Welt miteinander zu vereinen. Sinngebung bildete eine der Hauptthematiken innerhalb dieser Fin-de-Siècle-Strömung.In der Ballade des äußeren Lebens wird die Sinnlosigkeitdes Daseins in beklemmenden Metaphern formuliert - eine Atmosphäre, die sich in der Musik widerspiegelt. Letztendlich scheint der Mensch doch imstande zu sein, Ordnung in der scheinbaren Willkür zu schaffen. Der Dichter betont dies nachdrücklich in der einzigen Verszeile ohne Reim: Und dennoch sagt der viel, der Abend“ sagt. Die Komposition folgt in ihren Hauptzügen der Struktur der Ballade, die in Terzinen geschrieben ist.Das Chorwerk kann von einem Kammerchor, aber auch von einem viel größeren Ensemble aufgeführt werden. Der Satz ist hauptsächlich vierstimmig (SATB), aber es gibt auch sechsstimmige Teile (SAATBB). Ein einzelner Akkord ist gar achtstimmig.Das Werk ging unter der Leitung des Komponisten während der Internationalen Chorbiennale Aachen 2013 als Eröffnungswerk in Premiere. Der Chor setzte sich aus vier Kammerchören zusammen: Der Junge Chor Aachen, Carmina Mundi, der Aachener Kammerchor und der Madrigalchor Aachen.
SKU: JK.01569
Matthew 3:16-17, 3 Nephi 11:6-8, Joseph Smith--History 1:17, Doctrine and Covenants 18:34-36.
Restoration anthem for mixed chorus (SATB) and piano accompaniment.Whose is that voice declaring truth at last? A prophet speaks, a blessing unsurpassed......Since Jesus all our sins and sorrows bore,Death is rebuked and rules the earth no more. Eternal life awaits beyond that door. Alleluia!Composer: Charles V. Standford Arranger: Brent Jorgensen Lyricist: Jan Underwood Pinborough Difficulty: Medium Performance time: 2:45Reference: Matthew 3:16-17, 3 Nephi 11:6-8, Joseph Smith--History 1:17, Doctrine and Covenants 18:34-36.
SKU: BA.BA10706-01
ISBN 9790006550227. 33 x 26 cm inches. Text Language: English. Preface: Amanda Babington.
The Dettinger Te Deum was written to celebrate England's victory over the French at the Battle of Dettingen.It is Handel's last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This edition, edited by Baroque specialist Amanda Babington, is based on the Urtext from the Halle Handel Edition.* First Urtext edition* Includes a Foreword (Eng/Ger).
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
SKU: BT.MUSMF272
ISBN 9788774840954.
Anthology for mixed choir. Suitable for use colleges, high schools etc.
SKU: HL.14023538
UPC: 884088826178. 6.75x10.5x0.026 inches.
Vincent Novello was a British composer and Organist who gave the Novello publishing company its first embryonic form. Here he arranges Rule, Britannia! for Voice SATB with Piano accompaniment to introduce some contrapuntal interest in the verse.When 18th century British composer Thomas Arne included his song Rule, Britannia! in a masque based on the life of Alfred the Great that was presented at Cliveden, the country home of Frederick, Prince of Wales, he could not have imagined that more than two hundred seventy years later his ditty would be known throughout the British Isles and beyond. Rule, Britannia! is widely used in the Royal Navy and British Army and is featuredeach year at the Last Night of the Proms in the Royal Albert Hall as a national sing-along.At the time of writing, the Dutch actually 'ruled the waves,' so this song was more an exhortation than a status report. The lyrics were also a statement of civil liberty. Since Cromwell's time, Britain had had a standing army which could be turned against the native population. A standing navy, however, existed solely to protect the nation from invaders, protecting a free populace.
SKU: HL.49013476
ISBN 9783795733742. UPC: 073999269079. 5.25x7.75x0.062 inches. English - German. - Hindemith - Eng./Ger. -.
Wortlich ubersetzt ist das Libretto ein 'kleines Buch', ein 'Buchlein'. Doch nicht irgendein Buchlein. Seit es Opern gibt, gibt es die Textbucher dazu. Oft erzahlen die Universalsprache Musik und der Ausdruck der Darsteller die Geschichte, auch wenn man die Worte nicht versteht. Trotzdem ist ein Libretto sehr hilfreich fur das Verstandnis der Details. Gerade dann, und das fast immer, wenn die Oper in der Originalsprache aufgefuhrt wird. In den Libretti ist in der Regel das Original der Ubersetzung gegenubergestellt. Sie konnen so problemlos parallel Handlung und Inhalt folgen. In den meisten Fallen existiert das Textbuch Oper bevor die Musik dazu komponiert wird. Spannende und dramatische Geschichten bilden die Grundlage fur faszinierende Opernkompositionen.
SKU: CF.CM9736
ISBN 9781491161166. UPC: 680160919758. Key: Bb major. English.
Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth's voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music. Throughout this arrangement, the harmonies support the beautiful melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning. Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words. I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that's what we should always do when performing choral music. Russell Robinson, Arranger  .Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth’s voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music.Throughout this arrangement, the harmonies support the “beautiful†melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning.Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words.I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that’s what we should always do when performing choral music.Russell Robinson, Arranger .
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