for 5 soloists (SSATB), speaker, 3 mixed choirs and orchestra. Par PENDERECKI KRZYSZTOF. Deeply moved by his first visit to the city of Jerusalem with its seven gates, Krzysztof Penderecki composed this major vocal work to celebrate the city's 3,000th anniversary in 1995. Two years later, it was premiered as Symphony No. 7 in which the magic number seven has a special meaning: From the seven movements representing the seven gates to the seven powerful fortissimo chords concluding the oratorio, the biblical number runs through the entire work./ Répertoire / 5 Solistes [SSATB], Narrateur, 3 Chœurs Mixtes et

La partition Lauda Jerusalem de Desmarets/Duron a été composée pour Chant/Vocal/Choeur et plus particulièrement pour Soli/Choeur SATBB Sans Accompagnement. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Soli/Choeur SATBB Sans Accompagnement / Partition

La référence AL27787 de l'éditeur Leduc dont l'auteur célèbre est Titelouze/Dupre, qui a pour titre Coelestis Urbs Jerusalem Clas N034/Orgue, a été écrite et composée pour Diverses Formations. Cette partition musicale appartient à la catégorie Classique. / Divers / Partition

Music for Clarinet in Bb, Cello and Piano. Par JOST CHRISTIAN. In this trio, as in most of his compositions, Jost has pictures and associations with true incidents, films and novels in his mind. What inspired him to write this piece was Joseph Conrad's novel 'Heart of Darkness' in which the protagonist Marlow says about the city of Brussels: 'In a few hours I arrived in a city that always make me think of a whited sepulchre.' In 'Sepulchral City', a work commissioned to mark the tenth anniversary of the Jerusalem Chamber Music Festival, however, the title refers to Jerusalem, the city of white tombs. The topic of Jost's trio is a travel into the soul and living spirit of a city, with no physical movement being needed to find the heart of impenetrable darkness: It lies within the city walls. In this respect, 'Sepulchral City' equals a compositionally unfolded funeral bell. Even the animated middle section rather has insisting than progressive power. At the end, the only thing to do is to inhale and exhale./ Répertoire / Clarinette en Bb, Violoncelle et Piano

Dramatic poem for Soloists, Choir and Orchestra. Par GADE NIELS WILHELM. Gade composed the cantata ?The Crusaders? op. 50 for soloists, choir and orchestra (termed as ?Dramatic Poem? in the original print) in the summer of 1865; it was premiered on 24 April 1866. Together with the cantatas ?Kalanus? and ?Zion? written later, the work constitutes, in Gade?s understanding, a ?kind of trilogy? which centers on different manifestations of the ?longing for the true light?. The libretto of ?The Crusaders? by Carl Andersen is based on motives from Torquato Tasso?s ?Jerusalem Delivered? and spreads these over three sections which themselves are subdivided multiple times: I In the Desert ? II Armida - III Towards Jerusalem./ Répertoire / Chant et Orchestre

Choralkantate Ix. Par BORNEFELD HELMUT. Bornefelds Choralkantate verbindet das Gleichnis von den klugen und törichten Jungfrauen mit dem Choral 'Wachet auf, ruft uns die Stimme' und der eschatologischen Sicht des neuen Jerusalem. Die Orgel, die dem Gesangspart ebenbürtig gegenübersteht, hat verschiedene Funktionen: In den rezitativisch freien Teilen bildet sie den klanglichen Untergrund, während sie bei den dramatischen Teilen den gesungenen Text ausmalt. Auch die Einleitung deutet schon deutlich auf das Geschehen im Gleichnis hin: pochende dumpfe Akkorde markieren immer wieder das vergebliche Klopfen der Jungfrauen an den verschlossenen Türen./ Répertoire / Solo S et Orgue

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Texte Nach Rumänischen Volksliedern Ins Deutsche Übertragen Von Béla Bartók. Par BORNEFELD HELMUT. movements: I. Der Stern geht auf, II. An einem Hügel bei Jerusalem, III. Es kommt das Meer, das große Meer, IV. Es erbauen die Griechen ein Kloster, V. Oben an der Bergespitze, VI. Dort oben gegen Morgenland/ Répertoire / Voix et Orgue

Based on the hymn tune Dear Lord and Father of Mankind. Par PARRY CHARLES HUBERT. Sir Hubert Parry (1848-1918) appartient à cette génération de compositeurs anglais quelque peu oubliés dont font partie Charles Villiers Stanford et Sir Granville Bantock. La notoriété de Sir Edward Elgar a certainement contribué au fait que leurs oeuvres soient aujourd’hui très peu jouées ou même oubliées. Sir Hubert Parry est surtout connu pour ses hymnes tels que Jerusalem et Repton, toutes deux de magnifiques mélodies. Repton est apparu pour la première fois dans l’oratorio Judith de Charles Hubert Parry puis adapté sous forme d’hymne après la mort du compositeur. Philip Sparke en a réalisé un arrangement dans lequel la partie soliste peut êtreconfiée à un trompettiste, un clarinettiste ou un saxophoniste (saxophone alto). / Niveau : Facile à Intermédiaire / oeuvre solo et Orchestre / Répertoire / Concert Band ou Harmonie

The Maccabaean Revolt in the second century B.C. provided the background to the story that unfolds in Judas Maccabaeus . It is part of the history of the Ptolemaic and Seleucid Empires. This oratorio follows the story from the death of Alexander the Great in 323 B.C. up until Judas' march on Jerusalem in 164 B.C. With a libretto supplied by Thomas Morell, Handel's great work was first performed at the Theatre Royal, Covent Garden, on April the 1st, 1747, as part of his annual Lenten season of oratorios. By the time of Handel's death in 1759, Judas Maccabaeus had become the composer's second most popular oratorio, having received 33 London performances under the composer's supervision ( Messiah had 36). For SATB soli, SATB chorus and accompaniment. This version edited by Merlin Channon. Includes historical notes. / Chant Et Piano

And Did Those Feet In Ancient Times. Words by William Blake. Arranged by Albert Howe for voice and piano or organ. / Chant Et Piano

Par REINAGLE ALEXANDER. Useful for either Palm Sunday or Easter, Alexander Reinagle's familiar melody is clothed with a new lyric from the pen of Chris Anderson. Triumphant throughout, Richard Nichol's arrangement develops a backdrop for Christ's majestic entry into Jerusalem. / Date parution : 2022-05-31/ Répertoire / Chant et Piano

Par PAGE JEANNE. Bluegrass on Hammered Dulcimer is a collection of tunes commonly found in the standard bluegrass repertoire. Favorite vocal pieces such as 'A Man of Constant Sorrow,' 'Angel Band,' 'Keep on the Sunny Side,' and 'Will the Circle be Unbroken,' are included along side hot instrumentals such as 'Jerusalem Ridge,' 'Rawhide,' 'Big Mon,' and 'Blue Grass Stomp.' Even traditional tunes that you think you know already such as 'Bill Cheatham,' 'Farewell to Whiskey,' 'Forked Deer,' and 'Salty Dog' are given a new twist when presented as a typical bluegrass 'break.' Intermediate players and above will enjoy the challenge of learning more complicated versions of common tunes and performing them at the high-speed tempo that is expected in bluegrass music. Players are encouraged to use these examples of bluegrass breaks merely as a starting point. Improvisation is a key component in playing bluegrass style and players will enjoy experimenting with their own creations. Each tune has guitar chords notated above the music staff. Standard notation only. / Niveau : Intermédiaire / Bluegrass - Solos / Recueil / Dulcimer (Cordes frappées)