with Suggested Chordal Accompaniment. Par BAY WILLIAM. This collection contains 100 favorite gospel songs and hymns for flute and guitar. Inside you will find rousing camp meeting songs, sentimental expressions of a deep-rooted faith, and gospel oriented hymns with an old-time music flavor. In preparing this collection I felt the sincere and solid faith of America's 'revivalist era”, staunchly embedded in the rural and southern regions of America, but also in the dedicated inner city missions founded in sprawling urban centers. These solos will bring joy, exuberance, nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith. / Gospel / Recueil / Flûte Traversière et Guitare

Par BAY WILLIAM. This collection contains 100 favorite Gospel songs and hymns for trumpet and guitar. Inside you will find rousing camp meeting songs, sentimental expressions from a deep-rooted faith, and Gospel oriented hymns with an old-time music flavor. In preparing this collection I felt the sincere and solid faith of America's 'revivalist era”, staunchly embedded in the rural and Southern regions of America, but also in the dedicated inner city missions founded in sprawling urban centers. These solos will bring joy, exuberance, nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith. / Gospel / Recueil / Trompette et Guitare

Over 200 best-loved songs in full piano arrangement. Battle songs, sea shanties, hymns and spirituals, patriotic anthems and other traditional songs. Spiral Bound / Piano/Vocal/Guitare (PVG) (Avec Grille D'Accords)

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). As a symphonic composer, Bruckner wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

These gospel hymns have stood the test of time with their richness of content and profound simplicity. First-verse lyrics (and some refrains) are provided on the first page of each hymn for study and reflection. / Piano

Hymns Arranged For Hammered Dulcimer. Par MC NEIL MADELINE. Cette collection de musique transmet l'amour de Madeline d'hymnes. Beaucoup de ces arrangements fournissent une partie de l'harmonie qui peut-être être effectuée sur un autre instrument, comme les flûte, guitare, psaltérion frottée ou dulcimer de montagne. La majorité de ces mélodies peut être jouée sur un 12/11-cours martelé dulcimer (avec g ci-dessous middle c étant la note la plus basse sur l'instrument). Sélections comprennent : une puissante forteresse est notre Dieu - toutes les belles la marche de jours - Amazing Grace - être Thou My Vision - Come, tu Font de chaque bénédiction - soirée hymnes - pour la beauté de la terre - il ira Me - ici je suis, Lord - How Great Thou Art - et beaucoup plus. Ecrit en notation standard uniquement avec des paroles complètes et modifications suggérées chord. / Niveau : Débutant à Intermédiaire / Gospel-Old Time - Solos / Recueil / Dulcimer (Cordes frappées)

Par LOUGH ANNE. Une charmante et une vaste collection d'aimait tendrement et temps honoré hymnes et des airs de l'Evangile créative disposées à déguster et jouent avec succès à toute compétence niveau. Les mélodies sont écrites en notation musicale et en tablature dulcimer standard qui est claire et facile à lire. Symboles de corde sont inclus d'accompagnement des instruments ainsi que les paroles pour chanter le long. / Niveau : Débutant / Gospel-Old Time - Solos / Recueil / Dulcimer des Appalaches (Cordes pincées)

Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte' (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the 'Kleine geistliche Konzerte' were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the 'Kleine geistliche Konzerte' (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music./ Répertoire / Chant et Basse Continue

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes