| Richard Rodney Bennett: Reflections On A 16th Century Tune (Score) Music Sales
Wind Ensemble Wind Quintet SKU: HL.14002568 Composed by Richard Rodney Be...(+)
Wind Ensemble Wind Quintet SKU: HL.14002568 Composed by Richard Rodney Bennett. Music Sales America. Post-1900. Score. 48 pages. Music Sales #NOV95332601. Published by Music Sales (HL.14002568). 10.25x14.25x0.53 inches. Work for Double Woodwind Quintet, based on the sixteenth century French popular song A l'ombre d'un buissonet, first printed in La Couronne et Fleur (1536). $58.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Richard Rodney Bennett: Reflections On A 16th Century Tune (Score/Parts) Music Sales
Wind Ensemble Wind Quintet SKU: HL.14003982 Composed by Richard Rodney Be...(+)
Wind Ensemble Wind Quintet SKU: HL.14003982 Composed by Richard Rodney Bennett. Music Sales America. Post-1900. Set. 100 pages. Music Sales #NOV953326. Published by Music Sales (HL.14003982). 10.5x14.5x0.399 inches. Work for Double Woodwind Quintet, based on the sixteenth century French popular song A l'ombre d'un buissonet, first printed in La Couronne et Fleur (1536). $130.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Now Is the Time of Christmas Choral 3-part SAB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Winter. 12 pages
$1.75 $1.6625 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Now Is the Time of Christmas Choral SATB SATB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Christmas; Winter. 12 pages
$1.75 $1.6625 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Now Is the Time of Christmas Choral SATB SATB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. Choir Secular. SATB choir. Choral Octavo. Choral Designs. Christmas; Winter. 12 pages
$1.75 $1.6625 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Guitar Music from the 16th-18th Century Guitar Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32095 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU: BR.DV-32095 Composed by Adalbert Quadt. Edited by Adalbert Quadt. Solo instruments; Softbound. Deutscher Verlag. Baroque; Early classical. Score. 64 pages. Deutscher Verlag fur Musik #DV 32095. Published by Deutscher Verlag fur Musik (BR.DV-32095). ISBN 9790200426403. 9 x 12 inches. The guitar is of oriental orgin. lt had reached Spain by the 8th century, presumably via the Arabs, and from there, like the lute, it spread through the rest of Europe. Over the centuries the guitar was further developed into an instrument with four courses of strings - this is evident from early-16th-century tablature-books, the earliest known. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitar Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32004 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU: BR.DV-32004 Composed by Adalbert Quadt. Edited by Adalbert Quadt. Solo instruments; Softbound. Deutscher Verlag. Baroque; Early classical. Score. 68 pages. Deutscher Verlag fur Musik #DV 32004. Published by Deutscher Verlag fur Musik (BR.DV-32004). ISBN 9790200425024. 9 x 12 inches. The guitar is of oriental orgin. lt had reached Spain by the 8th century, presumably via the Arabs, and from there, like the lute, it spread through the rest of Europe. Over the centuries the guitar was further developed into an instrument with four courses of strings - this is evident from early-16th-century tablature-books, the earliest known. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitar Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32060 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU: BR.DV-32060 Composed by Adalbert Quadt. Edited by Adalbert Quadt. Solo instruments; Softbound. Deutscher Verlag. Baroque; Early classical. Score. 72 pages. Deutscher Verlag fur Musik #DV 32060. Published by Deutscher Verlag fur Musik (BR.DV-32060). ISBN 9790200425826. 8.5 x 11.5 inches. The guitar is of oriental orgin. lt had reached Spain by the 8th century, presumably via the Arabs, and from there, like the lute, it spread through the rest of Europe. Over the centuries the guitar was further developed into an instrument with four courses of strings - this is evident from early-16th-century tablature-books, the earliest known. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitar Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32023 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU: BR.DV-32023 Composed by Adalbert Quadt. Edited by Adalbert Quadt. Solo instruments; Softbound. Deutscher Verlag. Baroque; Early classical. Score. 76 pages. Deutscher Verlag fur Musik #DV 32023. Published by Deutscher Verlag fur Musik (BR.DV-32023). ISBN 9790200425109. 9 x 12 inches. The guitar is of oriental orgin. lt had reached Spain by the 8th century, presumably via the Arabs, and from there, like the lute, it spread through the rest of Europe. Over the centuries the guitar was further developed into an instrument with four courses of strings - this is evident from early-16th-century tablature-books, the earliest known. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Motets from the 16th Century Choral SATB Wilhelm Hansen
Choral (SATB) SKU: HL.14030971 (Motetter Og Lauder). Music Sales A...(+)
Choral (SATB) SKU: HL.14030971 (Motetter Og Lauder). Music Sales America. A Cappella, Classical, Latin, Motet. Book [Softcover]. 20 pages. Edition Wilhelm Hansen #WH26882. Published by Edition Wilhelm Hansen (HL.14030971). ISBN 9788759854402. 7.0x10.25x0.084 inches. A wonderful selection of motets from the 16th century which are suitable for SATB a capella. $3.95 - See more - Buy online | | |
| Guitar Music of the 16th Century Guitar [Sheet music + Audio access] Mel Bay
Composed by Keith Calmes. Editiones Classicae. Renaissance. Book and online audi...(+)
Composed by Keith Calmes. Editiones Classicae. Renaissance. Book and online audio. 294 pages. Published by Mel Bay Publications, Inc (MB.95375M).
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lute Dances, 16th Century, Guitar Guitar Universal Edition
Lute Dances, 16th Century, Guitar by Cesare Negri (1536-1604). Standard notation...(+)
Lute Dances, 16th Century, Guitar by Cesare Negri (1536-1604). Standard notation. Published by Universal Edition
$17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Si lo dicen, digan (from POEMAS DE AMOR) Choral SSAATTBB Subito Music
SSAATTBB Chorus & Percussion SKU: SU.80400490 For SSAATTBB Chorus & Pe...(+)
SSAATTBB Chorus & Percussion SKU: SU.80400490 For SSAATTBB Chorus & Percussion. Composed by Stephen Paulus. Vocal/Choral, Secular Choral. Accompanied by percussion. Choral Octavo. Subito Music Corporation #80400490. Published by Subito Music Corporation (SU.80400490). SSAATTBB Chorus & Percussion Duration: 6:00Commissioned by: ConspirareDedication: Crossing the Divide: Exploring Influence and Finding Our Voice Premiered by: January 27, 2007, Conspirare, Craig Hella Johnson, conductor, St. Matthew's Episcopal Church, American Music Festival, Austin, TX Copyright 2006Text author: 16th century spanish, anonymousPublished by: Paulus Publications (SP487-4) Minimum order quantity: 8 copies. To order quantities fewer than 8. $2.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 27 Duos from a 16th century collection Ut Orpheus
Early Music SKU: UT.DUO-5 Composed by Masters from Bari. Edited by Andrea...(+)
Early Music SKU: UT.DUO-5 Composed by Masters from Bari. Edited by Andrea Bornstein. Saddle stitching. Classical. Ut Orpheus #DUO 5. Published by Ut Orpheus (UT.DUO-5). ISBN 9790215300781. 9 x 12 inches. Works by Giovanni Giacomo De Antiquis, Simon De Baldis, Dominico Dello Mansaro, Giuseppe Di Colaianne, Orazio Di Martino, Fabrizio Facciola, Cola Vincenzo Fanelli, Stefano Felis, Gio. Pietro Gallo, Gio. Francesco Gliro, Vincenzio Gottiero, Pomponio Nenna, Terquinio Papa, Cola Maria Pizziolis, Donato Antonio Zazzerino and Anonymous $31.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Coventry Carol Choral SATB SATB, Keyboard [Octavo] MorningStar Music Publishers
(Lully, Lullay). Composed by Hal H. Hopson. For SATB choir, solo voice or small ...(+)
(Lully, Lullay). Composed by Hal H. Hopson. For SATB choir, solo voice or small ensemble, keyboard (organ or piano). Christmas, 21st Century. Moderately Easy. Octavo. Text Language: English. Published by MorningStar Music Publishers
$1.70 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 122 Bicinia from the 16th century EMB (Editio Musica Budapest)
Voice a Cappella SKU: BT.EMBZ14732 Compiled and edited by Soós Andr...(+)
Voice a Cappella SKU: BT.EMBZ14732 Compiled and edited by Soós András. Classical. Book Only. Composed 2012. 80 pages. Editio Musica Budapest #EMBZ14732. Published by Editio Musica Budapest (BT.EMBZ14732). Hungarian-English-German-French. This collection, similarly to the publication entitled 111 bicinia from the 15th century (EMB 14478), contains longer and shorter two-part excerpts from polyphonic ecclesiastical choral works, for pedagogical and liturgical use. As teaching material, on the one hand it introduces and notes in brief textual definitions the characteristics of each given excerpt: on the other hand, it provides easily usable examples for teaching music history, solfege and counterpoint (practice of intervals, score-reading, dictation, stylistic exercises, etc.) At the same time the movements, which also function as independent units, can be quickly learnt, and may on occasions add colour to themusical palette of the liturgy by introducing material that can be performed even by a children's choir. The volume consists mainly of excerpts taken from Mass movements and Magnificats by Palestrina, Lassus, Gombert, Clemens non Papa and others. A separate chapter is devoted to chorale-based bicinia in German, which were already popular in the initial period of Evangelical church music.
Ähnlich der Ausgabe 111 Bicinia aus dem 15. Jahrhundert (EMB 14478) präsentiert diese Sammlung für theoretisch- und praktisch-pädagogische, bzw. liturgische Zwecke mehr oder weniger lange zweistimmige Ausschnitte aus geistlichen Chorwerken Sie stellt als Lehrstoff einerseits die musikalische Charakteristika des jeweiligen Ausschnittes vor und registriert diese in kurzen textlichen Definitionen, andererseits liefert sie Beispiele für den Unterricht der Musikgeschichte, der Solfege- und der Kontrapunkt- Lehre (Intervallübungen, des Lesens vom Blatt, für das Diktieren, für Stilübung usw.), die sich leicht erarbeiten lassen. Gleichzeitig können die auch als eigenständige Einheitfunktionierenden Sätze schnell erlernt werden. Sie bereichern die musikalische Palette der Liturgie (Messe und Offizium) mit dem fallweise auch vom Kinderchor aufführbaren Stoff. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 21st Century Guitar Theory 3 Guitar notes and tablatures [Sheet music] - Intermediate Alfred Publishing
By Sandy Feldstein and Aaron Stang. For Guitar. Guitar Method or Supplement. War...(+)
By Sandy Feldstein and Aaron Stang. For Guitar. Guitar Method or Supplement. Warner Bros. Publications 21st Century Guitar Course. Level: Level 3. Book. 32 pages. Published by Alfred Publishing.
$6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| ARKA - 3 Rituale (Full Score) Low voice, Piano Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotali, Glockenspiel, gr, Trommel, vibraphonerafon - 1 Spieler), strings (7, 1) SKU: PE.EP14445 Composed by Bernd Franke. Full Scores. Edition Peters. Score. 52 pages. Duration 00:20:00. Edition Peters #98-EP14445. Published by Edition Peters (PE.EP14445). ISBN 9790014135041. 297 x 420 mm inches. German. ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss. Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester. Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen. In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte). Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between. In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung! Bernd Franke. Leipzig, 11.10.2019 W01476|C|Y 0.0000 Sheet Music _x000D_ 9780193556799 Y 23.50 X556799 357665 9780193556799 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556799 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 Low voice & piano Low voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556799 - Young: A babe is born
- Rutter: Angels' Carol
- McDowall: Before the paling of the stars
- Rutter: Candlelight Carol
- Rutter: I sing of a maiden
- Chilcott: Mid-winter
- Todd: My Lord has Come
- Bullard: Scots Nativity
- Quartel: Snow Angel
- Todd: Softly
- Chilcott: Sweet was the song
- Chilcott: The Shepherd's Carol
- Quartel: This endris night
- McGlade: What child is this?
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano. - 14 songs for solo voice
- Well-loved composers, including John Rutter and Bob Chilcott
- Wide selection of Christmas texts
- Accessible accompaniments
- Includes backing tracks downloadable from a Companion Website
- Available in volumes for high and low voice
MISC|AU|Y 0.0000 Paperback _x000D_ EP73308R Y 0.00 73308R P73308R 1 ORCHA 8000 0.00 Hover A (LARGE) BEAMISH EP73308R GP:ORCHESTRAL HOVER ONLY RENTAL SALLY WORKS NONE ORCHA P 303000 EP73308R 0.0000 Sheet Music _x000D_ EP14437A Y 22.95 14437A P14437A FRANKE, BERND C 9790014137199 52A1 8000 0.00 AGNI A 9790014137199 AGNI BASS BERND CLARINET EP14437A FRANKE PHOTOPRINTS W01476 English / German 00:12:0 Instrumental Score 232 x 303 mm Bass clarinet 20 DETNT NEW PR43 23/04/2021 P 303006 AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything: Every flame, every fire, every light, every warmth is AGNI. AGNI is omnipresent, establishing everything and ending everything. AGNI is often depicted with seven tongues which represent different aspects of his being. These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming. Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet. This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet. W01476|C|Y 0.0000 Sheet Music _x000D_ EP68686 Y 165.00 68686 P68686 LEWIS C 9790300761299 97 8000 0.00 Ikons A 9790300761299 CONTEMPORARY ENSEMBLE EP68686 GEORGE IKONS LEWIS PHOTOPRINTS SMALL W06652 English 00:14:0 Conductor Score & Parts 303 x 232 mm Fl (A-fl in F).Cl.Bsn (Cbsn).Tbn.Perc.Vln.Vlc.Cb 132 NEW PR43 USTNT 21/04/2021 P 303006 Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies. The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer. W06652|C|Y 0.0000 Sheet Music _x000D_ EP73531 Y 31.95 73531 P73531 PANUFNIK, ROXANNA C 9790577020976 61 8000 0.00 Sonnets without Words A 9790577020976 EP73531 HORN PANUFNIK PHOTOPRINTS PIANO ROXANNA SHAKESPEARE SONNETS W03578 WILLIAM WITHOUT WORDS English Score & Instrumental Parts 232 x 303 mm Horn and piano 28 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work. Score and horn part. - Contemporary work for Horn in F and piano
- Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form
W03578|C|Y W06737|LY|N 0.0000 Sheet Music _x000D_ EP73571 Y 15.95 73571 P73571 MCNEFF, STEPHEN C 9790577021317 20 8000 0.00 Trig for Solo Cello A 9790577021317 (SOLO) CELLO EP73571 MCNEFF PHOTOPRINTS SOLO STEPHEN TRIG W03150 English 00:07:0 Instrumental Score 232 x 303 mm Solo Violoncello 8 NEW PR43 UKTNT 21/04/2021 P 303006 Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010. Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music. - Contemporary piece for solo cello
- Written for the Royal Academy of Music's bicentennial
W03150|C|Y 0.0000 Sheet Music _x000D_ EP14528 Y 34.95 14528 P14528 SAUNDERS, REBECCA C 9790014136796 3 8000 0.00 to an utterance - study A 9790014136796 (SOLO) AN EP14528 PHOTOPRINTS PIANO REBECCA SAUNDERS STUDY TO UTTERANCE W04191 English Instrumental Score 420 x 297 mm Piano Solo 16 DETNT NEW PR43 21/04/2021 P 303006 to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin. W04191|C|Y 0.0000 Sheet Music _x000D_ EP71880 Y 75.00 71880 P71880 PANUFNIK, ROXANNA C 9790577008332 82 8000 0.00 Spirit Moves for Brass Quintet A 9790577008332 BRASS ENSEMBLE EP71880 MOVES PANUFNIK PHOTOPRINTS QUINTET ROXANNA SPIRIT W03578 English 00:15:0 Score & Instrumental Parts 232 x 303 mm Trumpet 1 in B flat (doubling Piccolo Trumpet), Trumpet 2 in B flat (doubling Flugel Horn), Horn in F, Trombone, Tuba 84 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual. This product consists of score and parts. W03578|C|Y 0.0000 Sheet Music _x000D_ EP73585 Y 4.00 73585 P73585 369282 WILLIAMS, RODERICK C 9790577021591 1 151 8000 0.00 Eriskay Love Lilt A 9790577021591 (SECULAR) CHORAL EP73585 ERISKAY HALSTAN-USA LILT LOVE RODERICK TRADITIONAL W05152 WILLIAMS WORKS English 00:03:0 190 x 272 mm SATB (divisi) and piano 16 NEW PR30 UKTNT 20/05/2021 P 377788 A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'. - Commissioned by The Sixteen choir and recorded on their 2021 album 'Goodnight Beloved'
- Roderick Williams is a composer/arranger and also a world-renowned baritone
- The arrangement is described by Williams as 'having a little nod to Ravel and Grieg'
W05152|C|Y W04819|LY|N 0.0000 Sheet Music _x000D_ 9780193556782 Y 23.50 X556782 357665 9780193556782 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556782 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 High voice & piano High voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556782 - Young: A babe is born
- Rutter: Angels' Carol
- McDowall: Before the paling of the stars
- Rutter: Candlelight Carol
- Rutter: I sing of a maiden
- Chilcott: Mid-winter
- Todd: My Lord has Come
- Bullard: Scots Nativity
- Quartel: Snow Angel
- Todd: Softly
- Chilcott: Sweet was the song
- Chilcott: The Shepherd's Carol
- Quartel: This endris night
- McGlade: What child is this?
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano. - 14 songs for solo high voice
- Well-loved composers, including John Rutter and Bob Chilcott
- Wide selection of sacred and secular Christmas texts
- Accessible accompaniments
- Includes backing tracks downloadable from a Companion Website
- Available in volumes for high and low solo voice
MISC|AU|Y 0.0000 Paperback _x000D_ 9780193559066 Y 4.25 X559066 357665 9780193559066 YOUNG C 1 444 8030 0.00 O splendour of God's glory bright PAPER 9780193559066 BRIGHT CHORAL GLORY GOD'S MIXED OF OXFORD SACRED SPLENDOUR TOBY VOICES W06576 YOUNG C 00:03:30 SATB & organ Vocal score 254x178 SATB 20 NONE P 355580 9780193559066 for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different. W06576|C|Y 0.0000 Paperback _x000D_ 9780193554399 Y 2.60 X554399 357665 9780193554399 LASSUS, ORLANDO DE C 1 445 8030 0.00 Oculus non vidit PAPER 9780193554399 CHORAL DE KEANE LASSUS MARK NON OCULUS ORLANDO OXFORD SACRED UPPER VIDIT VOICES W02750 B 00:01:30 SA unaccompanied Vocal score 254x178 Upper Voices - 3 parts or more 4 NONE 10/06/2021 P 355580 9780193554399 for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
W02750|C|Y W06960|E|N 0.0000 Paperback _x000D_ 9780193954298 Y 3.35 X954298 357665 9780193954298 TALLIS, THOMAS C 1 448 8030 0.00 Honor, virtus et potestas PAPER 9780193954298 CANTICLES DUNKLEY ET HONOR OXFORD POTESTAS SALLY SERVICES TALLIS THOMAS VIRTUS W04705 C 00:06:0 SAATB unaccompanied Vocal score MSER00020 SATB 12 NONE 28/05/2021 P 355580 9780193954298 for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony. W04705|C|Y W01184|E|N 0.0000 Paperback _x000D_ EP73527 Y 6.95 73527 P73527 BEAMISH, SALLY C 9790577020891 50 8000 0.00 The Parting Glass A 9790577020891 (SOLO) BEAMISH CLARINET EP73527 GLASS PARTING PHOTOPRINTS SALLY W00306 English Score 232 x 303 mm Clarinet 4 NEW PR43 UKTNT 12/12/2020 P 303006 Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019. Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth. But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind. I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation. The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet. The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians. It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble. W00306|C|Y 0.0000 Sheet Music _x000D_ EP73516 Y 6.95 73516 P73516 BEAMISH, SALLY C 9790577020747 20 8000 0.00 Maple A 9790577020747 (SOLO) BEAMISH CELLO EP73516 MAPLE PHOTOPRINTS SALLY W00306 English 00:06:0 Score 232 x 303 mm Contemporary cello solo 8 NEW PR43 UKTNT 12/12/2020 P 303006 Seed; Spinning Seed; Roots, shoots; Leaves ; Flowers; Tree ; Autumn ; Cello Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world. The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello. The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style. Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project. W00306|C|Y 0.0000 Sheet Music _x000D_ EP73508 Y 39.95 73508 P73508 DILLON, JAMES C 9790577020648 3 8000 0.00 echo the angelus A 9790577020648 (SOLO) ANGELUS DILLON ECHO EP73508 JAMES PHOTOPRINTS PIANO W01097 English 00:25:0 Score 232 x 303 mm Piano Solo 44 NEW PR43 UKTNT 12/01/2021 P 303006 First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020. Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $90.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Silent Night and Gaudete Choral SSAA Boosey and Hawkes
Female Voices; Tambourine (SSAA a cappella) SKU: HL.48025426 SSAA a ca...(+)
Female Voices; Tambourine (SSAA a cappella) SKU: HL.48025426 SSAA a cappella with Optional Tambourine. Composed by Anna Lapwood. BH Secular Choral. Carol, Christmas, Christmas/Advent Sacred, Classical. Octavo. 12 pages. Duration 330 seconds. Boosey and Hawkes #M060150173. Published by Boosey and Hawkes (HL.48025426). ISBN 9781835680032. UPC: 196288207559. Silent night: This arrangement of the traditional carol by Franz Gruber and Joseph Muhr (translated into English by John Freeman Young) was written by Anna Lapwood and the Pembroke College GirlsÂ? Choir for their end of term party for the families of the choristers. The aim was to produce an arrangement manageable for the youngest choristers whilst stretching the older ones with some slightly jazzy harmonies. It was written in one 75-minute rehearsal, and performed to the parents straight after. The choir has written a new pieceat the end of every term since. Gaudete: This arrangement of the 16th-century carol was written during a full weekend of group composition with Anna Lapwood and the Pembroke College Girls' Choir, a process with which they had experimented previously. The choir decided to create rhythmic impetus and drive, which is delivered from the outset in the introductory material. This figure is repeated under the refrain for the first three verses, while the verses themselves are presented in simple unison. The final verse is harmonised and crescendos towards the uplifting key change for the final refrain, giving a sense of climax, which may be highlighted further with an optional tambourine. $4.50 - See more - Buy online | | |
| Royal Coronation Dances Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Libro de glosas Breitkopf & Härtel
Quintet (ob.clar.B-clar.A-sax.bsn .) SKU: BR.KM-2515 Set of parts....(+)
Quintet (ob.clar.B-clar.A-sax.bsn.) SKU: BR.KM-2515 Set of parts. Composed by Jose Maria Sanchez-Verdu. Chamber music; Folder. Kammermusik-Bibliothek (Chamber Music Library). World premiere: 's-Hertogenbosch, December 16, 2007 Music post-1945; New music (post-2000). Set of parts. Composed 2007. 40 pages. Duration 10'. Breitkopf and Haertel #KM 2515. Published by Breitkopf and Haertel (BR.KM-2515). ISBN 9790004503355. 11 x 14 inches. Libro de glosas is based on the Trattado de glosas by Diego Ortiz (1510 - ca. 1570). The intertextuality between different materials and musical techniques and processes of the 16th century was one of my main interests when I wrote this piece for the wonderful sound and quality of the Calefax ensemble.The intertextual relationships are as follows:Recercada I is based on the first chords of the chanson Doulce memoire by Pierre Sandrin. It is also used in Trattado de glosas.Recercada II is based on the incipit of the madrigal O felici occhi miei by Jacques Arcadelt. It is also used in Trattado de glosas.Recercada III is based on the ostinato Passamezzo antico. It is also used in Trattado de glosas.Recercada IV is freely based on the tenor La Spagna. It is also used in Trattado de glosas.Batalla (V) is a free composition in form of a battaglia and is based on some ostinati of Spanish origin as well as on an anonymous theme from the 16th century. There are also some bars of a batalla by Joseph Ximenez (18th century).Libro de glosas esta basada en el Trattado de glosas de Diego Ortiz (1510 - ca. 1570). La intertextualidad entre diferentes materiales y tecnicas y procesos de la musica del siglo XVI era uno de mis principales intereses cuando escribi esta pieza para el maravilloso sonido y calidad del Calefax ensemble.Las relaciones intertextuales son las siguientes:Recercada I esta basada libremente sobre los primeros acordes de la chanson Doulce memoire de Pierre Sandrin. Esta es utilizada como ejemplo en el Trattado de glosas.Recercada II esta basada libremente sobre el incipit del madrigal O felici occhi miei de Jacques Arcadelt. Esta pieza es utilizada tambien como ejemplo en el Trattado de glosas.Recercada III esta basada libremente sobre el ostinato Passamezzo antico. Tambien es presentada en el Trattado de glosas.Recercada IV esta construida libremente sobre el tenor La Spagna. Tambien es utilizado por Ortiz en el Trattado de glosas.Batalla (V) es una libre composicion en forma de battaglia sobre ostinati de origen espanol y sobre un tema anonimo (siglo XVI). Tambien aparecen brevemente varios compases de una batalla de Joseph Ximenez (siglo XVIII).(Jose M. Sanchez-Verdu). $71.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Looking Up Choral SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano Vocal Score. Composed by Nico Muhly. Music Sales America. Classical. Softcover. 60 pages. St. Rose Music #SRO10015201. Published by St. Rose Music (HL.277282). UPC: 840126915006. 6.75x10.5 inches. Program note:
Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft's psalter (1621), in which he writes: “The singing of Psalmes (assay the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.”
It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling anddescanting” - an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental musicfor worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches.
One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers - each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord...” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awefor the divine.
The text for the third, and shortest, section is taken from Christopher Smart's (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clustering spheres” to the “nosegay in the vale.&rdquo. $7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Glorious Hill Men's Voices Choral TTBB Schott
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male ...(+)
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male voices. Composed by Gavin Bryars. Sheet music. Edition Schott. Classical. Score. Composed 1988. 16 pages. Duration 15'. Schott Music #ED12461. Published by Schott Music (HL.49003214). ISBN 9790220117282. UPC: 888680784249. 8.25x11.75x0.052 inches. Latin. Glorious Hill may be performed by a male choir.Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate.Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices.The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace.Gavin Bryars. $8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| When Christ Was Born of Mary Free - SATB Choral SATB SATB A Cappella Jackman Music Corporation
SATB chorus a cappella - Medium-difficult SKU: JK.01335 Composed by 16th ...(+)
SATB chorus a cappella - Medium-difficult SKU: JK.01335 Composed by 16th century English carol. Arranged by Rob Millett. Choral A cappella, Choral SATB, Difficulty Medium Hard, Seasonal Music Christmas, Christmas, Jesus Christ - Birth. Christian, Inspirational. Duration 3:00. Jackman Music Corporation #01335. Published by Jackman Music Corporation (JK.01335). Luke 2. A joyous arrangement of the 16th century English carol, written for a cappella mixed chorus (SATB). Composer: 16th century English carol Arranger: Rob Millett Difficulty: Medium-difficult Performance time: 3:00 Reference: Luke 2.
$1.60 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Elburg Fantasy Marching band - Intermediate/advanced De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-020 Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Set (Score & Parts). Composed 2013. De Haske Publications #DHP 1135396-020. Published by De Haske Publications (BT.DHP-1135396-020). 9x12 inches. English-Dutch. This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents.Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.
Deze muzikale fantasie vertelt de geschiedenis van de Nederlandse vestingstad Elburg. Het werk begint met een middeleeuws sfeerbeeld vanuit het Agnietenklooster, het nonnenklooster dat in de eerste helft van de 15e eeuw werd gebouwd. We horen de kloosterklok samen met een opwaarts motief, dat ook later in het werk terugkomt. Vervolgens komt de rest van Elburg aan bod, inclusief de vesting - van waaruit de klokken van de Grote of Sint-Nicolaaskerk weergalmen. Dan klinken bij de Vischpoort de vrolijke geluiden van een dansgroep die daar een 16e-eeuwse Franse volksdans (branle des chevaux) uitvoert. Ook horen we oude karren over de kinderkopjes van de stad denderen. Dehandel maakt deze Hanzestad tot een levendige plaats. Het zich steeds herhalende opwaartse motief uit de inleiding krijgt hier een nadrukkelijker karakter en verbeeldt de handelsgeest van de stedelingen.Dan volgt het langzame middendeel, waarin de klok wordt teruggedraaid naar de tijd dat Elburg nog direct aan de Zuiderzee lag en te kampen had met overstromingen. Na de tweede Sint-Marcellusvloed (1362) en de watervloed van 1367 werd besloten dat de stad verplaatst zou worden. We horen het thema van de branle des chevaux in mineur, gevolgd door een doodsklok, die de verdronken inwoners van de voormalige stad herdenkt. Terug in onze eigen tijd verklankt een langzaam, expressief thema in barokke stijl de verstilde plekken in de stad, zoals het Feithenhof en het Weduwenhofje. Dan keert de levendigheid terug met motieven uit de inleiding, gevolgd door een aansprekend thema waarin het Elburg van nu met zijn vele toeristen doorklinkt. Plotseling is er dan nog even een echo uit het verleden: de dramatiek van de overstromingen en oorlogen die de stad ooit teisterden. Hieruit vloeit het grootse slotthema voort: de branle des chevaux is voor de laatste keer te horen vanuit het perspectief van de historische binnenstad. $203.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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