For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

C Instruments. Composed by Various. Fake Book. Christmas, Christmas Secular. Softcover. Published by Hal Leonard

For Piano, Vocal, Guitar, Electronic Keyboard and All C Instruments. Composed by Various. Fake Book. Softcover. 232 pages. Published by Hal Leonard

C Edition. By Various. Fake Book (Includes melody line and chords). Softcover. 216 pages. Published by Hal Leonard.

By Jan Michael Joncas. Text by: various various. For Unison Chorus. Music Collection. Includes guitar chord names. Sacred. Level: easy/medium. 36 pages. Published by GIA Publications.

Chorus (with soloists) and orchestra (solo: A - choir: boys ch - fem ch - 4(2picc).4(cor ang).5(2Eb-clar.B-clar).4(dbn) - 8.4(posthn).4.1 - 2hp.2timp.perc(6) - str)

SKU: BR.PB-5663

Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Choir; Linen. Partitur-Bibliothek (Score Library). Symphony; Late-romantic. Full score. 288 pages. Duration 110'. Breitkopf and Haertel #PB 5663. Published by Breitkopf and Haertel (BR.PB-5663).

ISBN 9790004216002. 10.5 x 14 inches.

The first textcritical edition of Mahler's most extensive work is a further milestone in the project, Mahler - The Symphonies. The many sources first consulted here for an edition include, among others, the conducting scores used for early performances by Mahler, Mengelberg and other conductors, as well as the parts of the Vienna Philharmonic used by Mahler, Bruno Walter and many additional great conductors right up to the present. Furthermore, another set of parts from Mahler's personal possession was consulted. These sources, significantly expanding the source base in comparison with that of the 1974 Kritische Gesamtausgabe, guarantee a reliable, scholarly valid music text, shedding at the same time new light on Mahler's complex process of revision. In unprecedented comprehensiveness, the editorial report contains references from Mahler's letters and other authentic documents indispensable for an understanding of the work and its interpretation. The orchestral parts feature as usual optimal readability and practicality. Rounding off the edition is the introductory essay Mahler as Symphonist, together with the knowledgeable preface by Constantin Floros, doyen of Mahler research.

Soloists, Mixed choir, Orchestra

SKU: BA.BA04025-01

Composed by George Frideric Handel. Edited by Georg-Friedrich-Händel-Gesellschaft e. V. Risinger and Mark. This edition: Complete edition. Linen. Complete edition, Score. HWV 58. Baerenreiter Verlag #BA04025-01. Published by Baerenreiter Verlag (BA.BA04025-01).

ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.

Handelâ??s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.

Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.

Handelâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.

Chorus a cappella (solos: SpSS - choir: SSAA - 2.2.2.2 - 2.3.3.0.oph - timp.perc(2) - str)

SKU: BR.CHB-5305-02

Music to Shakespeare's Comedy - Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christian Martin Schmidt. Choir; stapled. Chor-Bibliothek (Choral Library). Stage/film Music; Music theatre; Romantic. Sheet Music. 12 pages. Duration 45'. Breitkopf and Haertel #ChB 5305-02. Published by Breitkopf and Haertel (BR.CHB-5305-02).

ISBN 9790004412183. 7.5 x 10.5 inches.

The new edition is based on the traditional piano score by the composer and organist Ernst Friedrich Richter (1845), published by Breitkopf & Hartel Leipzig. The publisher commissioned Richter in accordance with Mendelssohn. The new edition brought the Richter score into line as much as possible (including specific dynamics and articulation marks) with the score of the Leipzig Mendelssohn Edition (ed. by Christian Martin Schmidt), along with the performance material derived from it. Richter's piano score was critically examined by Hellmut Dohnert, who made emendations wherever there were subtantial discrepancies in the score.

Chorus (with soloists) and orchestra (solos: SpSS - choir: SSAA - 2.2.2.2 - 2.3.3.0.oph - timp.perc(2) - str)

SKU: BR.PB-5396

Music to Shakespeare's Comedy - Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christian Martin Schmidt. Choir; Softbound. Partitur-Bibliothek (Score Library). Stage/film Music; Music theatre; Romantic. Study Score. Duration 45'. Breitkopf and Haertel #PB 5396. Published by Breitkopf and Haertel (BR.PB-5396).

ISBN 9790004211564. 6.5 x 9 inches.

The new edition is based on the traditional piano score by the composer and organist Ernst Friedrich Richter (1845), published by Breitkopf & Hartel Leipzig. The publisher commissioned Richter in accordance with Mendelssohn. The new edition brought the Richter score into line as much as possible (including specific dynamics and articulation marks) with the score of the Leipzig Mendelssohn Edition (ed. by Christian Martin Schmidt), along with the performance material derived from it. Richter's piano score was critically examined by Hellmut Dohnert, who made emendations wherever there were subtantial discrepancies in the score.

Master Rhythm

SKU: WD.080689031298

This edition: Book 15. Modern Christian: Sacred. Master rhythm. Word Music #080689031298. Published by Word Music (WD.080689031298).

UPC: 080689031298.

The most comprehensive work of its kind, Songs for Praise and Worship is a rich anthology of 253 of the most popular songs and choruses, collected from the catalogs of all the major praise and worship publishers and many independent publishers as well. It is designed to be used either as a stand-alone collection of best-known praise and worship songs, or as a hymnal supplement, allowing the great hymns of the faith to blend with these newer musical expressions. * The pew edition features lead line and lyrics for every song with parts added when appropriate. * The singer's edition has voicings ranging from unison to SATB and includes notations for the introductions, interludes and endings featured in the song arrangements. * The worship planner edition is designed to aid the worship leader, music director or pastor in creating a unified, focused worship service using the songs in the collection. It features all of the music in the singer's edition format along with topical listings, scripture references, comprehensive song indexes and other practical planning materials. * The keyboard edition is a foundational keyboard accompaniment that includes transitions and modulatory material, moderate fully-realized two-hand piano accompaniments, chord symbols, scripture references, and the complete vocal parts from the singer's edition for use in rehearsal. * The 15 Instrumental Editions for any size praise band or orchestra include song lyrics for every title. * The Spiralbound PGV edition features a simplified keyboard part with the melody in the right hand, chord symbols, complete lyrics and all of the song endings, repeat endings and medley segues found in other editions of the book.

(Cantata for the Sunday after Christmas). Composed by Johann Sebastian Bach (1685-1750). Edited by Christiane Hausmann. Arranged by Paul Horn. For SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo. This edition: Paperbound. Stuttgart Urtext Edition. German title: Das neugeborne Kindelein. Cantatas, Christmas. Vocal score. Language: German/English. Composed 1724. BWV 122. 20 pages. Duration 16 minutes. Published by Carus Verlag

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3116412

Cantata for the 13th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Whitsun. Single Part, Violin 2. Composed 1725. BWV 164. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.164/12. Published by Carus Verlag (CA.3116412).

ISBN 9790007209032. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3116411

Cantata for the 13th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas, Whitsun. Single Part, Violin 1. Composed 1725. BWV 164. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.164/11. Published by Carus Verlag (CA.3116411).

ISBN 9790007209025. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.