SKU: BT.DHP-1094722-140
9x12 inches. English-German-French-Dutch.
Jubilate’s main theme comes from the Gregorian chant on the Psalm Jubliate Deo omnis terra. The work itself was inspired by the sacredhistory of the Waldkirch (a forest village) community, located on the Swiss/German boarder. It tells a tale of the Irish and Scottish monks who build the first wooden church at the site of what is now Waldkirch, of the dramatic events, good and bad, that have taken place over the centuries and of the flourishing community that has withstood the trials of time.Jubilate!, dessen Hauptthema aus dem gregorianischen Gesang zum Psalm Jubilate Deo omnis terra stammt, wurde von der Kirchengeschichte der Gemeinde Waldkirch bei Waldshut am Hochrhein inspiriert. Von den irischen und schottischen Mönchen, welche die erste Holzkirche bauten, von dramatischen historischen Ereignissen, aber auch von einer aufblühenden Kirchengemeinde handelt dieses festliche Werk, dem eine CD mit dem Glockenklang der Waldkircher Kirche beiliegt.Jacob de Haan fa rivivere il passato religioso di Waldkirch, una citt tedesca vicino alla frontiera con la Svizzera. Il titolo del brano deriva dal versetto del Salmo 97 Jubilate Deo omnis terra. La musica rievoca l’arrivo dei monaci scozzesi ed irlandesi che si stabilirono sul suolo dell’attuale Waldkirch dove iniziarono a costruire le prime chiese. La storia prende in seguito una piega più tragica, ma la comunit reagisce positivamente e con orgoglio, ciò che porta alla prosperit e al benessere. Le campane di Waldkirch suonano con vigore (CD di accompagnamento): Jubilate!
SKU: BT.DHP-1094722-013
SKU: BT.GOB-000863-130
‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax, which is both dynamic and harmonic, the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register, with motifs in ornamentation for saxophones, bugles and trumpets. The finale, like the prelude is capricious and vehement.The instrumentation for brassband was made by Dirk Annema. It is particularly colourful and has a surprising role for the percussion section. ‘Jubilant Prelude’ is een orkestbewerking van het oorspronkelijk voor orgel geschreven ‘Preludium over Psalm 150’ van de hand van Toon Hagen. Sinds 1998 is Toon Hagen als organist verbonden aan de Grote of Sint Michaëlskerk te Zwolle.Hij heeft meerdere ‘eigentijdse’ composities voor orgel op zijn naam staan.‘Jubilant Prelude’ krijgt door het gebruik van onregelmatige maatsoorten en vele maatwisselingen een grillig karakter.De opbouw van de Prelude is fugatisch,en is gebaseerd op motieven van de psalm.Na de eerste climax, dynamisch en harmonisch, is op het Andante Jubiloso het thema duidelijk hoorbaar, en wordt afgewisseld met grillige motieven. De spanning neemt toe totdat de psalmin volle glorie volgt. De melodie van de psalm klinkt als een cantus firmus in het tenor register, met een omspeling in saxofoons, bugels en trompetten.Het slot is net als het voorspel grillig en heftig.De instrumentatie voor brassbandis van Dirk Annema. Deze is bijzonder kleurrijk met een verrassend gebruik van het slagwerk.
SKU: BT.GOB-000772-140
‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax, which is both dynamic and harmonic, the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register, with motifs in ornamentation for saxophones, bugles and trumpets. The finale, like the prelude is capricious and vehement.The instrumentation for concert band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section. ‘Jubilant Prelude’ is een orkestbewerking van het oorspronkelijk voor orgel geschreven ‘Preludium over Psalm 150’ van de hand van Toon Hagen. Sinds 1998 is Toon Hagen als organist verbonden aan de Grote of Sint Michaëlskerk te Zwolle.Hij heeft meerdere ‘eigentijdse’ composities voor orgel op zijn naam staan.‘Jubilant Prelude’ krijgt door het gebruik van onregelmatige maatsoorten en vele maatwisselingen een grillig karakter.De opbouw van de Prelude is fugatisch,en is gebaseerd op motieven van de psalm.Na de eerste climax, dynamisch en harmonisch, is op het Andante Jubiloso het thema duidelijk hoorbaar, en wordt afgewisseld met grillige motieven. De spanning neemt toe totdat de psalmin volle glorie volgt. De melodie van de psalm klinkt als een cantus firmus in het tenor register, met een omspeling in saxofoons, bugels en trompetten.Het slot is net als het voorspel grillig en heftig.De instrumentatie voorharmonie orkest is van Wim Rouw. Deze is bijzonder kleurrijk met een verrassend gebruik van het slagwerk.
SKU: BT.GOB-000772-010
SKU: BT.GOB-000782-020
‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax, which is both dynamic and harmonic, the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register, with motifs in ornamentation for saxophones, bugles and trumpets. The finale, like the prelude is capricious and vehement.The instrumentation for fanfare band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section. ‘Jubilant Prelude’ is een orkestbewerking van het oorspronkelijk voor orgel geschreven ‘Preludium over Psalm 150’ van de hand van Toon Hagen. Sinds 1998 is Toon Hagen als organist verbonden aan de Grote of Sint Michaëlskerk te Zwolle.Hij heeft meerdere ‘eigentijdse’ composities voor orgel op zijn naam staan.‘Jubilant Prelude’ krijgt door het gebruik van onregelmatige maatsoorten en vele maatwisselingen een grillig karakter.De opbouw van de Prelude is fugatisch,en is gebaseerd op motieven van de psalm.Na de eerste climax, dynamisch en harmonisch, is op het Andante Jubiloso het thema duidelijk hoorbaar, en wordt afgewisseld met grillige motieven. De spanning neemt toe totdat de psalmin volle glorie volgt. De melodie van de psalm klinkt als een cantus firmus in het tenor register, met een omspeling in saxofoons, bugels en trompetten.Het slot is net als het voorspel grillig en heftig.De instrumentatie voorfanfare orkest is van Wim Rouw. Deze is bijzonder kleurrijk met een verrassend gebruik van het slagwerk.
SKU: BT.GOB-000782-120
SKU: BT.GOB-000863-030
SKU: HL.35011761
UPC: 747510066040. 8.5x11 inches.
Jubilant Spirit is sure to become a favorite among music educators, performers, and audience members. The high-energy introduction makes this piece an ideal opening for both concert and contest performances. The clever and spirited theme is shared by woodwinds, trumpets, and keyboards and supported by the low brass and horn. The beautiful Andantino provides every section the chance to play expressively and to explore each performer's ability and understanding of lyrical playing. Tasteful percussion writing contributes to the drive of the piece as well as giving the percussionists the opportunity to be fully involved in every section of the piece. Jubilant Spirit has been carefully edited to help the music educator maximize the effectiveness of style and dynamics and to also teach the concept of phrase development, especially in the lyrical middle section.
SKU: CF.BPS137F
ISBN 9781491158494. UPC: 680160917099. 9 x 12 inches.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
SKU: CF.BPS137
ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches.
SKU: HL.50601408
ISBN 9788881920389. UPC: 888680884291. 8x10.75 inches.
RV 588 is Vivaldi's 'other' Gloria, a composition having many parallels with Vivaldi's better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990.
SKU: JU.JMG1096
UPC: 850029754114.
SKU: JU.JMG1345
ISBN 9781959503187. UPC: 850055807693.
Love is Born! draws a correlation between the Old Testament prophecies of anticipating and preparing for the promised Messiah and the New Testament fulfillment of those prophecies that still found the people of God amazed and surprised when Emmanuel did arrive. The fact that He arrived in such an unexpected manner merely enhances the mystery and wonder of Christ’s birth. The cantata presents the four traditional themes of Advent to tell the Christmas story: Hope, Peace, Joy, and Love. The work can be presented in different segments during Advent and Christmas, or as an entire cantata with narration. From the brisk, exciting instrumental prelude to the powerful conclusion, here is a work that is as beautiful as it is unforgettable. 35 minutes.
SKU: HL.35011762
UPC: 888680006280. 8.5x11 inches.
SKU: JU.JMG1329
Ten solo piano arrangements focused on Lent and Holy Week are contained in this exquisite collection. Artfully arranged by the always creative Patti Drennan, instructions are included for free downloadable Lenten images for projection during performance of each piece. Titles include Were You There?; O Sacred Head Now Wounded; Jesus Walked This Lonesome Valley; I Will Sing of My Redeemer; Journey to Dark Gethsemane, and more.
SKU: JU.JMG1355
ISBN 9781959503200. UPC: 850055807792.
From the pen of Lloyd Larson comes this versatile and highly useful piano collection. These all year long songs cover the gamut of the church year: Advent, Christmas, Lent/Holy Week, Palm Sunday, Lent, Easter, Pentecost, and Thanksgiving. Through the format of brief introits, interludes, and postludes (codas), these tasteful hymn and carol arrangements can be played with minimal rehearsal. And thanks to Lloyd’s careful and consistent craftmanship, each setting is a winner. This is a book that will become a treasured addition to your repertoire which you’ll use time after time!
SKU: JU.JMG1350
ISBN 9781959503194. UPC: 850055807747.
If you’re looking for an easily prepared musical treat for Christmas this year, Celebrate the Child is the answer! Created by the always creative yet practical Stan Pethel, the 2-part (opt. SATB) vocal scoring sings effortlessly. Classic contemporary songs such as Breath of Heaven (Amy Grant) and Gloria (Michael W. Smith) are masterfully blended with beloved carols and simple narration. It’s a work perfect for small choirs, senior choirs, ensembles, or any choir desiring a simple (though not simplistic) yet highly effective Christmas presentation. 20 minutes.
SKU: JU.JMG1407
ISBN 9781959503217. UPC: 850055807808.
Howard Helvey has created four exquisite settings of wonderful Advent selections for organ. Beautifully capturing the mystery and wonder of Advent, the book contains Intrada on Conditor alme siderum' (Creator of the Stars of Night); Prelude on Nun komm, der Heiden Heiland (Savior of the Nations, Come); Meditation on Es ist ein Ros'' (Lo, How a Rose E'er Blooming) and Flourish on an English Carol (Tomorrow Shall Be My Dancing Day). This will be a special treat for the player and all to experience during the holy season of Advent.
SKU: JU.JMG1243
ISBN 9798985015393. UPC: 850044279401.
As a leading figure in 19 th century American church music, Lowell Mason composed over 1,600 hymn tunes…many of which became standards in church hymnody known worldwide. This publication not only features playable piano arrangements of Mason’s classic hymn tunes, but offers biographical information and celebrates the life and influence of the man often regarded as “the father of American music education. Titles include When I Survey the Wondrous Cross; Blest Be the Tie; My Faith Looks Up to Thee; There is a Fountain; Nearer, My God to Thee; O For a Thousand Tongues, and more.
SKU: JU.JMG1358
Saddle up your one-horse open sleigh for a Leroy Anderson organ joy ride! In this mini collection, accomplished arranger Robert Gower has put his masterful touch on three Anderson gems: Song of the Bells, A Trumpeter’s Lullaby, and Sleigh Ride. The result is an addition to your concert repertoire that will thrill player and listeners alike, while celebrating the genius of one of America’s most beloved composers.
SKU: HP.1901
UPC: 763628019013.
An original composition For three or four octave handbell choirs, F. Thomas Simpson offers an easy to ring original composition which depicts it's title. With an upbeat tempo, few bell changes, consistent syncopation, a slower contrasting middle section, and tasteful use of stopped sounds A JUBILANT PSALM is truly Jubilant.
SKU: JU.JMG1092
UPC: 850029754077.
SKU: CA.4076704
ISBN 9790007084998. Key: F major. Language: Latin.
A good six years following its first performance in Milan (1773) a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This Salzburg version, which was discovered in 1978, differs from the Milan version primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart's autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the Biblioteka Jagiellonska in Krakow for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. Score available separately - see item CA.4076700.
SKU: ST.D107
ISBN 9790220225406.
Purcell's setting of the Te Deum and Jubilate in his celebratory D major manner (the first with orchestral accompaniment by an English composer) was admired by his contemporaries and was the inspiration for similar pieces by Blow, Turner, Croft and Handel. This score is the complete choral performing material for soloists and choir, either in performances with organ or, as vocal score, if given with the accompaniment for trumpets and strings which is available for rental.
SKU: BR.CHB-3641-02
ISBN 9790004405451. 7.5 x 10.5 inches.
George Frideric Handel's musical setting of the English translation of Psalm 100 (O Be Joyful) has become known under the name of Utrecht Jubilate. The composer wrote the score together with the Te Deum HWV 278 in spring 1713. Both works were given their first performance on 7 July of that year in London's St. Paul's Cathedral for the celebration of the Peace Treaty of Utrecht, which, for England, ended the long military confrontation between the European powers and the France of Louis XIV in the War of Spanish Succession.
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