(E-Z Play Today #325). By Taylor Swift. E-Z Play Today. Softcover. 72 pages. Published by Hal Leonard

Chorus (with soloists) and piano (solos: SSAATB - choir: SSATB - 0.0.0.0. - 0.2.0.0. - str - bc(hps))

SKU: BR.ED-12749

For St. Cecilia's Day 1694. Composed by Henry Purcell. Edited by Denis Arnold. Choir; Softcover. Cantata; Renaissance/early Baroque; Baroque. Piano/Vocal Score. Z 232. 56 pages. Duration 20'. Breitkopf and Haertel #ED 12749. Published by Breitkopf and Haertel (BR.ED-12749).

ISBN 9790220122354. 7.5 x 11 inches.

St. Cecilias Day was celebrated in England during Restoration times with a great festival of music. The soloists were among the best singers of the day, and their music was deliberately florid to show their virtuosity. It is in this tradition that Purcell wrote his festal ,Te Deum and Jubilate. It was composed for St. Cecilias Day, 1694, and shows the same ornate style as he odes composed in previous years. It was the grand manner which assured the popularity of the work. After the initial performance, it was given annually on St. Cecilias day for many years. This fame ensured that the work was printed in score.
The present edition has been prepared from the second edition, a copy of which is now in the possession of Glasgow University.
(Denis Arnold).

SKU: BA.BVK02608

Edited by Ilona Schmiel, Inga Mai Groote, and Laurenz Lütteken. Hardback. Book. 190 pages. Baerenreiter Verlag #BVK02608_00. Published by Baerenreiter Verlag (BA.BVK02608).

ISBN 9783761826089. 32.5 x 28 cm inches. Text Language: German, English. Preface: Groote, Inga Mai / Lutteken, Laurenz.

The Tonhalle in Zurich is an internationally recognised outstanding concert building. This richly illustrated volume presents the design and history as well as the architectural ideas behind its function as a music centre in the city. The history of the Tonhalle Orchestra Zurich is embedded in this context and the restoration work and acoustic planning are portrayed.

The location of the Tonhalle at Lake Zurich combines an urban accent with the aspiration to secure a prominent place for music in the city. The concert halls preserve the Wilhelminian architecture with which the renowned Viennese firm Fellner & Helmer, specialists in the design of music buildings, realised a project in 1895 that was ingeniously planned in every detail, combining concerts and conviviality.

The Tonhalle Society Zurich has staged concerts in these concert halls since the opening where Johannes Brahms was the guest conductor of his own work,Triumphlied.

After a reconstruction and integration into the congress hall by Haefeli, Moser and Steiger, inaugurated in 1939, and subsequent changes, the entire building complex was extensively restored in the years 2017-2021. In the process, many of the original qualities could be recovered, so that through the combination of old and new, a fascinating music venue for the 21st century has emerged.

This volume includes contributions by Elisabeth Boesch, Dietrich Erben, Karlheinz Muller and Michael Wahl as well as Ulrike Thiele.

(E-Z Play Today Volume 307). By Various. E-Z Play Today. Softcover. 48 pages. Published by Hal Leonard

(E-Z Play Today Volume 114). By Dario Marianelli. E-Z Play Today. Softcover. 48 pages. Published by Hal Leonard

(E-Z Play Today #88). By Various. E-Z Play Today. Softcover. 72 pages. Published by Hal Leonard

Composed by Z. Randall Stroope. For SATB choir, piano accompaniment (with optional brass quintet, timpani, percussion). Octavo. Heritage Music Press #15/3256H. Published by Heritage Music Press

By Various. E-Z Play Today. Softcover. Big note notation. 880 pages. Published by Hal Leonard

Edited by David Dutkanicz. For solo piano. Book; Masterworks; Piano Collection. Dover Edition. Classical. Collection. 125 pages. Published by Dover Publications

Piano - Level 4

SKU: LM.27366

Composed by Charles Herve and Jacqueline Pouillard. De Bach a nos jours. Classical. Score. Editions Henry Lemoine #27366. Published by Editions Henry Lemoine (LM.27366).

ISBN 9790230973663.

GLINKA : Tarentelle - MOZART W.A : Sonate n. 5 KV283, Allegro - Sonate n. 4 KV282, Allegro - CHABRIER E. : Ballabile - TCHAIKOWSKI : Feuillets d'Album - SMETANA B. : Andante - SCHUMANN R. : L'Etranger - Klavierstuck Op.99 n. 1 - SCHUBERT F. : Scherzo en Sib Maj. - DEBUSSY C. : Danse Bohemienne - Doctor Gradus ad Parnassum - POULENC F. : 5e Improvisation - MARTINU B. : Polka en La - MARTIN F. : 3e Prelude - KODALY Z. : Klavierstucke Op.3 n. 1 - BARTOK B. : Accords de Quintes - PROKOFIEV S. : Menuetto Op.32 n. 2 - BEETHOVEN L.V. : Bagatelle Op.119 n. 2 - BERIO L. : Brin - CHOPIN F. : Mazurka Op.24 n. 1 - GRANADOS E. : Danse Espagnole n. 5 - GRIEG E. : Sylphide Op.67 n. 1 - HAYDN F.J. : Presto - Sonate en Sol Maj.

Choral Cello, Piano, SATB chorus

SKU: CF.CM9714

Composed by Z. Randall Stroope. 16 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #CM9714. Published by Carl Fischer Music (CF.CM9714).

ISBN 9781491160329. UPC: 680160918904. Key: F major. English. Robert Frost.

About the work ... Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference. Rehearsal notes ... Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout. Z. Randall Stroope A definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media. About the composer ... Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Faure). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).
About the work ...Few American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines.The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference.Rehearsal notes ...Research strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout.Z. Randall StroopeA definitive recording was made by the New American Voices, with Randall conducting. This can be found on Spotify, YouTube, his website (www.zrstroope), and other social media.About the composer ...Z. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Fauré). He is the artistic director of two international summer music festivals, is an Honorary Member of the National Association of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).

Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin performed by Augustin Hadelich, and Dr. Shinichi Suzuki. This edition: International. MakeMusic Cloud; Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book and CD. 32 pages. Alfred Music #00-50633. Published by Alfred Music

Recorder and Piano

SKU: BT.EMBZ14216

By János Bali. Educational Tool. Book Only. Composed 2000. 88 pages. Editio Musica Budapest #EMBZ14216. Published by Editio Musica Budapest (BT.EMBZ14216).

Hungarian-English-German-French.

In publishing the recorder volumes of the Répertoire series the editor seeks to provide music students with a collection of pieces from different eras written for, transcribed for or easy to play on recorders. The volumes 'a' (Z 14132 and Z. 14168) contain solos and duets, the volumes 'b' (Z. 14216 and Z. 14217) contain solos with accompaniment, as well as works for trio sonata scoring.

1st violin (Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025011

Composed by Henry Purcell. Edited by Julia Rosemeyer. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025011. Published by Carus Verlag (CA.1025011).

ISBN 9790007329761. Key: D major. English.

“Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell’s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score and part available separately - see item CA.1025000.