Organ

SKU: CA.1811400

Composed by Various. Edited by Peter Wollny, Jean-Claude Zehnder. This edition: Paperbound. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. Orgelchorale Aus Dem Umkreis Des Jungen Bach. Instrumental arrangements of works by bach: Instrumental arrangements of works by bach, Organ music based on hymns. Collection. Carus Verlag #CV 18.114/00. Published by Carus Verlag (CA.1811400).

ISBN 9790007088002.

Choir

SKU: CA.300400

Composed by Various. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. Kurrende, Heft 4. Sacred vocal music, Whole church year / Omni tempore. Choir Book. Carus Verlag #CV 03.004/00. Published by Carus Verlag (CA.300400).

ISBN 9790007097974.

ATB vocal soli, SATB choir, 2 oboes, trumpet, 2 violins, viola, basso continuo

SKU: CA.3112614

Cantata for Sexagesimae. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Erhalt uns, Herr, bei deinem Wort. German title: Erhalt uns, Herr, bei deinem Wort. Sacred vocal music, Holy Week. Single Part, Cello/Double Bass. Composed 1725. BWV 126. 12 pages. Duration 22 minutes. Carus Verlag #CV 31.126/14. Published by Carus Verlag (CA.3112614).

ISBN 9790007207687. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Score and part available separately - see item CA.3112600.

SKU: CA.2901500

Composed by Helmut Bornefeld. This edition: Complete edition. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Bs 3 Kirche/Wort/Sakrament. Organ music based on hymns, Easter and Eastertide, Eucharist, Communion, Baptism, Mourning, death. Collection. 32 pages. Carus Verlag #CV 29.015/00. Published by Carus Verlag (CA.2901500).

ISBN 9790007102166.

Coro SATB / SAM, z.T. mit Orgel - Grade 2

SKU: CA.1902305

Choral collection. 76 pages. Carus Verlag #1902305. Published by Carus Verlag (CA.1902305).

ISBN 9790007310066. German/Latin.

Score available separately - see item CA.1902300.

ATB vocal soli, SATB choir, 2 oboes, trumpet, 2 violins, viola, basso continuo

SKU: CA.3112600

Cantata for Sexagesimae. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Erhalt uns, Herr, bei deinem Wort. German title: Erhalt uns, Herr, bei deinem Wort. Sacred vocal music, Holy Week. Full score. Composed 1725. BWV 126. 32 pages. Duration 22 minutes. Carus Verlag #CV 31.126/00. Published by Carus Verlag (CA.3112600).

ISBN 9790007097479. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

SATB choir, 2 violins, violone (violoncello), basso continuo

SKU: CA.3601513

Composed by Dietrich Buxtehude. Edited by Thomas Schlage. Hymns by Martin Luther: Erhalt uns, Herr, bei deinem Wort. Erhalt Uns, Herr, Bei Deinem Wort 27. Sacred vocal music, Cantatas. Single Part, Violone. BuxWV 27. 4 pages. Duration 6 minutes. Carus Verlag #CV 36.015/13. Published by Carus Verlag (CA.3601513).

ISBN 9790007213725. Language: German. Text: Luther, Martin.

This cantata combines two texts: Erhalt uns Herr bei deinem Wort and Verleih uns Frieden gnadiglich. The Lubeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody Erhalt uns Herr. This was the basis for Buxtehude's composition. The copy of the tabulature of this cantata in the Duben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic Amen completes the work. Score and part available separately - see item CA.3601500.

SATB choir - Level 3

SKU: CA.714100

Composed by Adolf Brunner. Hymns by Martin Luther: Erhalt uns, Herr, bei deinem Wort. German title: Erhalt uns, Herr, bei deinem Wort. Sacred, Motets; Occasions: Reformation day. Full score. Duration 3 minutes. Carus Verlag #CV 07.141/00. Published by Carus Verlag (CA.714100).

ISBN 9790007014247. Key: E phrygian. Language: German. Text: Luther, Martin.

Arranged by Jimmy Baas. For SSA choir, piano, optional violin. Octavo. Published by Carl Fischer

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

By Gunter Heller. For 2 Trumpets, 2 Trombones, Organ, [Tuba]. Instrumental Music (hymns); Use during church year: Reformation day. Score. Language: German. 12 pages. Published by Carus Verlag (German import).

Composed by Friedrich Reimerdes. This edition: Paperbound. German title: Festliche Orgelchorale 8. Organ music based on hymns, Easter and Eastertide, Eucharist, Communion. Collection. 48 pages. Published by Carus Verlag

By Johann Sebastian / Herman Bach. Edited by Klaus Hofmann. Hymn settings, Mass Sections; Choral Collections, Mixed Choir; Occasions: Peace and Justice, Morning, Midday, Evening; Use during church year: Advent, Special Days, Epiphany, Lent and Passiontide, Holy Week, Easter and Eastertide, Ascension, Christmas. Choral collection. 80 pages. Published by Carus Verlag (German import).

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS190

Composed by Sean O'Loughlin. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+4+10+10+10+3+12 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #YAS190. Published by Carl Fischer Music (CF.YAS190).

ISBN 9781491151556. UPC: 680160909056. 9 x 12 inches. Key: E minor.

As part of a collaboration between students and composer, Sean O'Loughlin, Dark Dreams is a dark and mysterious piece that utilizes techniques such as tremolo and pizzicato. Following a slow and mysterious opening which illustrates the tapestry of sound for the composition, the work develops the musical material into various vivid, intense, and gripping musical moments.

Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

.

Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

.

Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

.

Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious,  vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to “play” the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels