Roland C30 Digital Harpsichord including stool. Experience the elegance of baroque music.While producing authentically exquisite centuries-old harpsichord sounds and drawing inspiration from 21st century ingenuity the Roland Classic Series C30 Digital Harpsichord uses digital technology to enhance playability and expressiveness. Whether you are a virtuoso or a novice the C30 makes it possible for you to spend as much quality time as you want with the harpsichord. Taking up little space the styling of the C30 is modelled on the virginals. With an authentic wooden cabinet and a high-quality mahogany finish the traditional and simple styling will beright at home in a classic or modern interior. The period styling is enhanced by stained glass on the stand and the decorative panel on the keyboard lid. The C30 can easily switch between the built-in French and Flemish types of harpsichord. Both of these have four dispositions— 8’ I (back eight) 8’ II (front eight) 4’ (upper octave) and lute (buff mute) — and each disposition has its own dedicated selection button. You can play with a single disposition or layer more than one. The C30 also has an excellent fortepiano sound and has two admirable sampled organ options - 8' flute (ideal for solo accompaniment) and 8'+4' Principal which is ideal for use with a choir. The digital C30 doesn’t need tuning and you can simply switch the pitch from a=440 to baroque (415 Hz) and French baroque (392 Hz). If for ensemble playing you need to match the C30 to other instruments fine pitch adjustments can be made. You can easily take the C30 with you to group rehearsals and live performances. Even if the temperature and humidity vary you can be sure that the pitch will remain accurate. Time-consuming maintenance is a thing of the past. Now you can just turn on and play. As well as equal temperament you can select Werckmeister Kirnberger Vallotti and Meantone tuning

Originally an instrumental work Swedish composer Gunnar Eriksson has created a remarkable experimental version for choir which is both deceptively simple and impressively powerful.Deliberately schematic the score offers a base for improvisation. Each choir is encouraged to create their own unique representation of the emotional meaning inherent in the music itself. Dynamic and intense this is best for choirs looking to stretch beyond the limits of standard choral repertoire. Recorded by the Sophia Vocal Ensemble Bengt Ollén conductor.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Celtic music is enjoying a well-deserved revival. This revival may have been inspired by historical Hollywood epics by popular dance acts such as ”Riverdance” by Michael Flatley or purely by the emotional power of Celtic melodies. The songs all tell stories that have been passed down through successive generations with more facets than any other kind of traditional music: some are melancholy dirges some playful and lively dance tunes. This book brings together 20 of these traditional melodies in contemporary modern arrangements for mixed chorus. In them you will find homophonic movements sweeping melodic lines vocal imitations of Celtic instruments and rousingrhythms. The irresistible charm of this music will leave no choral singer unmoved and is bound to find favour with audiences.

Dale Warland Choral Series-No. 1 in Nativity Suite the opening sounds of the instruments and voices in this setting are meant to invoke an air of mystery. The initial tone clusters approached by layering the voice parts should be presentedvery subtly in order to enhance the intimacy and the veiled quality suited to this traditional liturgical. The alleluias which reflect the significance of the Christmas Eve should be joyful. Other movements include: O MagnumMysterium (50600072) A Boy Was Born (50600073). Flute and Harp Parts available separately for the full suite (50600165).

Commissioned by the Hickory NC Choral Society for their 35th anniversary season Dan Forrest's Requiem For The Living is scored for mixed choir with solos for boy soprano and/or mezzo-soprano soprano & tenor. The instrumentation is available for large orchestra or chamber ensemble. Combining both liturgical and non-liturgical texts in some cases the traditional texts are slightly re-arranged for contextual emphasis. This powerful five movement work projects a wide range of meaningful expression from a biting essay on the vanity and pain of existence to a plea for mercy and a celebration of eternal light. The work standsalone - but would be especially moving for all saints Good Friday or even Palm Sunday. Movements: Introit - Kyrie Vanitas Vanitatum Agnus Dei Sanctus Lux Aeterna 3. Instrumentations available on rental only: 1. Full orch. (HMB265a): 2 flutes 2 oboes 2 bb clarinets 2 bassoons 2 horns (or 1-4: if performing with a large choir horn lines may be doubled by a second player on each part) 2 bb trumpets 2 trombones bass trombone or trombone 3 tuba percussion (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt.)(or other low drum) timpani (3) (one player) harp strings (min. Suggested count 4.4.2.2.1) full score. 2. Chamber version (HMB265b) - flute oboe horn in f (optional) combined percussion (one player: timpani suspended cymbal crash cymbal triangle glockenspiel crotales (bowed) snare drum low tom-tom (optional) (or other low drum) harp violin cello organ full score. 3. Expanded chamber version (HMB265c) - flute oboe horn in f(opt.) percussion from full orchestra version (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt. or other low drum) timpani (3) from full orchestra version (1 player) harp strings from full orchestra version

Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.

The 'Petite Messe solennelle? is the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the 'Stabat mater?, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the series 'Works of Gioachino Rossini?- Supplements the already existing material available to this work / Choeur Mixte (SATB)

Full Score- Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund.   Composer's note:   Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet  Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence.    Duration approximately: 40 Minutes  

Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Piet then his primary place of employment. The composition conceived solely for choir and strings is characterized by a two-layered formal design: a continuous basic motivic idea i.e. a constant rhythmic impulse with rapid tone repetition builds an instrumental layer while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work where the text 'Et vitam venturisaeculi' is embedded in a concise fugue.

From the composer of the prize-winning very successful The Darkest Midnight in December here is a new offering from organist and church musician Stephen Main this one for your Easter concert! School church choirs and community choirs will love this exciting celebration. If leaving out the opening SSA soli this work may be performed at other times as well. The powerful setting is sung in English with impressive organ brass and timpani accompaniment. Available separately: SATB divisi Instrumental Parts (tpt 1-2 tbn 1-2 timp). Duration: ca. 5:25.

Uses: Advent Christmas Scripture: Luke 2 David Angerman and Michael Barrett have combined to provide a new Christmas cantata seeking to blend traditional carols with some contemporary Christian seasonal selections. Designed for choirs of any size this quickly learned cantata includes songs by Michael W. Smith Keith Getty Amy Grant Point of Grace and others. The accompaniment tracks available are produced with a fresh folk sound making the work both current and comfortable to all types of audiences. Optional obbligato instruments give thoughtful directors choices for acoustic instrumental additions if desired. The simple narration reminds us of the comfort and joy we have inthe miracle of grace. Titles include: Prepare Ye the Way O Savior of Our Fallen Race Promises of Isaiah Breath of Heaven Here I Am to Worship One King Light of the Stable All Is Well. Available separately: SATB Listening CD Preview Pack Orchestration CD-ROM (Score & parts for Flute 1&2 Oboe Clarinet Horn 1&2 Piano Synth. Acoustic Guitar E. Bass Percussion 1&2 Harp Violin 1&2 Viola Cello) StudioTrax CD Split-Trax CD 10-Pack CDs RehearsalTrax CDs. Duration: ca. 37:00.

The bond of friendship is celebrated in this pop style original perfect for graduation or other end-of-the-year events. ?How do we say goodbye when we never want it to end?? Available separately: SATB SAB and 2-Part. ShowTrax CD also available. Instrumental ePak includes parts for Trumpet 1 2 (opt. Flugelhorn) Tenor Sax Trombone Synthesizer Acoustic Guitar Bass and Drums. Performance Time: Approx. 2:15

A Medley of 12 Beatles Classics arranged by Roger Emerson for SATB choir with Piano accompaniment. Available in other arrangements (2-part SAB). An instrumental pack is also available for Clarinet 2 Trumpet Tenor Sax Trombone 2 Synthesisers Lead Guitar Rhythm Guitar Drums and Percussion.