SKU: HL.49044577
ISBN 9783795759421. UPC: 841886014046. German - English.
The concert has been hugely successful. The audience is still applauding and calling for more. What you need now is a quick encore piece to end the concert on a high. This selection of closing and encore pieces that draws from from the realms of pop and jazz music has just what you need to make the audience leave in high spirits.Carsten Gerlitz has arranged pieces including Das Publikum war heute wieder wundervoll and Sentimental Journey in his familiar modern style and Der Mond ist aufgegangen and Guten Abend, gut' Nacht as pop ballads.
SKU: CA.925300
ISBN M-007-24915-1. Key: E minor. Language: French. Text: Verlaine, Paul.
Paul Verlaine spent 555 days in prison because he had shot his fellow poet and companion Arthur Rimbaud with a revolver whilst in a drunken state. This spell in prison evidently fostered his artistic inspiration, so at least it did his literary career some good. The world of French literature even gave Verlaine the unofficial title Prince des Poetes. In the poem Prison the author was able to draw on his very own experiences: the monotony behind bars (expressed musically in Gabriel Faure's setting through the repeated target note of b), the inner rebelling against this monotonous stillness (surprising forte dynamic), and the reproachful self-questioning: Was hast du getan? ... Was hast du mit deiner Jugend getan? [What have you done? ... What have you done with your youth?] (diminishing piano). Denis Rouger, founder and director of the figure humaine chamber choir, has arranged art songs for solo voice and piano for his ensemble, in the process carefully adapting these to the needs and expressive possibilities offered by a larger ensemble. Music edition for the successful CD Kennst du das Land... (Carus 83.495).
SKU: SU.96010061
Instrumentation: SATB Chorus, & Piano Duration: 5' Composed: 2012 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440. About T.N.T As a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Massthat I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing. Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi. At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and ... as a matter of practicality, I happily agreed. -- Joe Gianono Note: Taxi, Noise, and Time may be performed separately.
SKU: CF.CM9787
ISBN 9781491164587. UPC: 680160923496. Key: D major. English. Original.
The text for the first voicing (SSA) of this piece came to me in the fall of 2020 while teaching at Crosby High School in Crosby, Texas. My students, though enthusiastic to be back in Choir, were struggling to cope with the civil unrest around them, in addition to the pandemic. When considering how I could help them navigate this time, I realized that they were in need of some sort of consistency, of feeling grounded in themselves. As we focused on building of community and citizenship, this text and tune came to mind, each phrase highlighting an element of personal and community wellness.I lead with my spirit keeping love in the circle around me. (Social)Expressing my spirit (Occupational)Loving what I can see and cannot see, I'll take care of the vessel I am in (Physical)I love with me that's under the skin (Emotional)Taking care of my mind (Intellectual)Envisioning the me I want to be (Spiritual)I had the honor of collaborating with composer/educator Saleel Menon to create the beautiful piano accompaniment and SATB setting.Who I Want To Be opens with a solo functioning as a mantra throughout the tune. As the piece continues, voices join in unison and harmony to emphasize the intent.When the repeats in mm. 48–51 occur, invite students to share some of their own mantras and affirmations, or feel free to borrow from the words my students in the Crosby HS choir inspired me to write:Allow yourself graceI am persistentI am fragile, not brokenYou are worthyI am worthyI know that your success is not my demise!The only validation I need is my ownI believe in myselfI see youIt’s okay to not be okayBreatheI love and I am lovedPrepare yourself for not only a powerful performance, but a rewarding experience and conversations with your students.THIS is the piece you want stuck in your students’ heads!~CRM.
SKU: BA.BA08857
ISBN 9790006558209. 33.5 x 25.7 cm inches. Text Language: French. Preface: Sylvie Bouissou. Louis de Cahusac.
The opera “Naïs†was premiered on 22 April 1749 at the Acadmie royale in the Palais-Royal, Paris, in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau’s death and achieved great success as the “opera of peace,†even though it did not appear in print during the composer’s lifetime.In numerous arias Rameau provides his singers ample opportunity to shine, while he reveals his orchestral mastery, in particular in the chaconne and the various other ballets.The work appears here for the first time in a vocal score with a keyboard reduction. The reduction is by François Saint-Yves on the basis of the new critical edition by Pascal Dencheau which is part of Opera Omnia Rameau edited by Sylvie Bouissou.This edition is the result of a meticulous comparison of all known musical sources. In the main section, it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival.
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: BA.BA04045
ISBN 9790006443536. 33 x 26.1 cm inches. Text Language: Italian. Anonymus.
In 1734 Handel provided the pasticcio “ Oreste †for his third operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the work from favourite movements from his own and other composer's pieces as was usual at that time; rather in “ Oreste †he presented a selection of the most beautiful arias and ensembles exclusively from his own operas. In addition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre. As most of the singers in his Italian company had been enticed away by the competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect. The new vocal score is based on Volume 1 of the Supplement to Series II of the “Halle Handel†Edition edited by Bernd Baselt .
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
SKU: GI.G-8960
UPC: 785147896005. English. Text by Delores Dufner.
Each song in this edition is set for SATB voices, yet versatile enough to work well with just cantor and assembly. Smaller choirs can make use of these gems, singing only the melodies. The accompaniments are playable on organ or piano. This trio of songs follows the success of a previous Dufner/Guimont collaboration, Amen to the Body of Christ: Eight Songs for the Communion Procession, G-7205. The Guitar part is optional. Contents: O Christ, You Are the Seed That Died, We Are Blest Who Are Called and We Receive What We Are.
SKU: BA.BA02282
ISBN 9790006419555. 33 x 26.5 cm inches. Text Language: French, German. Preface: Ludwig Finscher. Text: Pierre-Louis Moline.
Christoph Willibald Gluck’s most popular opera “Orphe et Euridice†was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives. Both versions of Gluck’s reform drama are based on a libretto by Ranieri de’ Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music, instrumental music, pantomime and dance are all closely connected; the myth replaces a historical plot surrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set.
SKU: SU.96010060
Instrumentation: SATB Chorus, & Piano Duration: 3:30' Composed: 2012 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440. About T.N.TAs a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Mass that I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and... as a matter of practicality, I happily agreed.-- Joe GianonoNote: Taxi, Noise, and Time may be performed separately.
SKU: SU.96010062
Instrumentation: SATB Chorus, & Piano Duration: 4' Composed: 2012 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440. About T.N.TAs a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Mass that I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and... as a matter of practicality, I happily agreed.-- Joe GianonoNote: Taxi, Noise, and Time may be performed separately.
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).
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