| Israel, Israel God is Calling Choral SSAATTBB SSAATTBB A Cappella [Octavo] - Intermediate Jackman Music Corporation
By Charles C. Converse. Arranged by Craig Jessop, John Longhurst. For SSAATTBB C...(+)
By Charles C. Converse. Arranged by Craig Jessop, John Longhurst. For SSAATTBB Choir. Medium. Duration 4:15
$1.40 $1.33 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Joseph Smith's First Prayer Choral SSATBB SSATBB A Cappella [Octavo] Jackman Music Corporation
By Sylvanus Billings Pond, adapted by A. C. Smyth / arr. Cornwall. Arranged by J...(+)
By Sylvanus Billings Pond, adapted by A. C. Smyth / arr. Cornwall. Arranged by J. Spencer Cornwall. For SSATBB choir. Medium Difficullt. Octavo. Published by Jackman Music Corporation
$1.25 $1.1875 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hallgrimsson: Verse 1 for Flute and Cello Chester
Chamber Group, Flute, Cello (Chamber Orchestra) SKU: HL.14014073 Composed...(+)
Chamber Group, Flute, Cello (Chamber Orchestra) SKU: HL.14014073 Composed by Haflidi Hallgrimsson. Music Sales America. Post-1900. Sheet Music, Instrumental Work. With Text language: English. Chester Music #CH55853. Published by Chester Music (HL.14014073). UPC: 884088808891. 8.5x11.0x0.108 inches. 'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement, sectional design. Progressively faster tempi lead to the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C. Quoting composer:'In April 1975 I occupied a flat in Aldeburgh, Suffolk, near the seafront. As a member of the English Chamber Orchestra, I had come to work for a week on a recording of Britten's opera 'Death in Venice', so the real and suggested sound of the sea was in my ears, so to speak, for days on end. A few weeks later, when I started work on 'Verse 1', it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten's music, but I do, however, quote a small fragment from a theme to be found in a piano quartet by Mahler, played early in the piece by the flute (bars 6 & 7). This work was awarded the First Prize in the Viotti International Competition for composers, in Italy in 1975. $6.50 - See more - Buy online | | |
| The Lord at First Did Adam Make - Intermediate MorningStar Music Publishers
Soprano voice solo, tenor voice solo, and SATB choir divisi (a cappella) - Inter...(+)
Soprano voice solo, tenor voice solo, and SATB choir divisi (a cappella) - Intermediate SKU: MN.50-0455 Composed by Philip Barnes. Advent, Lessons and Carols, 21st Century. MorningStar Music Publishers #50-0455. Published by MorningStar Music Publishers (MN.50-0455). UPC: 688670504556. English. This traditional text is set for SATB divisi, a cappella. The composer has provided an original melody which is lyrical and lilting. The first verse is given to a soprano soloist over choir accompaniment. The second is set for SATB, the third given to a tenor soloist, again, with the choir accompanying. The final verse is set for SSAATTB. $2.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kneipenhocker Melody line, (Lyrics) and Chords [Sheet music + CD] Musikverlag Monika Hildner
Melody, Lyrics and Chords SKU: BT.MVH10001031 230 Lumpenlieder, SpaÃ...(+)
Melody, Lyrics and Chords SKU: BT.MVH10001031 230 Lumpenlieder, Spaßlieder, Trinklieder & frivole Lieder für die fröhliche Runde. Arranged by Gerhard Hildner. Book with CD. 303 pages. Musikverlag Monika Hildner #MVH10001031. Published by Musikverlag Monika Hildner (BT.MVH10001031). ISBN 9783932839597. 230 songs to sing in the pub, or at a party or other social gathering. This songbook contains a selection of traditional German songs that are joyful and fun to play. All songs are arranged in a melody line, lyrics and chords format. This book is accompanied by 3 CDs that contain the first verse and the chorus of every title to enable the player to become acquainted with them.
Die 230 besten Lumpenlieder, Spaßlieder, Trinklieder und frivolen Lieder für die gesellige Runde und fürs Wirtshaus-Singen. Dank des besonderen Formats DIN A5 maxi (+ 20 %) ist die Schrift sehr gut lesbar. Die einzelnen Titel sind jeweils arrangiert mit Melodiezeile, den Akkorden und Text zum Spielen mit Keyboard und Gitarre sowie zur Gesangsbegleitung. Als Begleitung zum Buch erhalten Sie 3 CDs zum Kennenlernen aller im Buch enthaltenen Lieder und zum Mitsingen. Der 1. Vers und der Refrain werden dabei angespielt, Gesangsbegleitung inklusive. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The First Noel Handbells - Easy Lorenz Publishing Company
Handbells (3 octaves) and handbells (5 octaves) - Level 2 SKU: LO.20-1080L(+)
Handbells (3 octaves) and handbells (5 octaves) - Level 2 SKU: LO.20-1080L Composed by Paul A. McKlveen. Christmas, Sacred. Handbell score. Lorenz Publishing Company #20/1080L. Published by Lorenz Publishing Company (LO.20-1080L). UPC: 000308032376. The arrangement begins with the melody entering quietly under a canopy of twinkling stars. It then builds in intensity with each succeeding verse until the tune joyously tolls across the land, Born is the King of Israel! The stars return and peace crowns the scene once again. $5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Service Music from Italy Kevin Mayhew
Arranged by Colin Mawby (compiler). Service music. Published by Kevin Mayhew Pub...(+)
Arranged by Colin Mawby (compiler). Service music. Published by Kevin Mayhew Publishers
$28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Befiehl Du Deine Wege Wilhelm Hansen
Ensemble SKU: HL.14003796 Composed by Hans Abrahamsen and Johann Sebastia...(+)
Ensemble SKU: HL.14003796 Composed by Hans Abrahamsen and Johann Sebastian Bach. Music Sales America. Score Only. Edition Wilhelm Hansen #KP01266. Published by Edition Wilhelm Hansen (HL.14003796). Danish. A Chorale arranged for 15 Instruments. Full Score for ensemble.
Bach's Befichl du deine Wege is a chorale setting (BWV 272), which Hans Abrahamsen has arranged for fifteen instruments. In Hans Albrahamsen's adaptation Bachs chorale gradually ernerges from two melodic fragments, both borrowed from the Danish composer Poul Ruders' Four Dances in One Movernent'. In fact both fragments are taken from the last three bars of Ruders' composition. One of Ruders' small melodies is descending, the other is ascending. The metamorphosis from Ruders to Bach can be accomplished because both of Ruders' melodic fragments are in fact 'hidden' among the parts of this Bach choraleinasmuch as the composer has transposed it into B minor. In the first verse we hear only the descending Ruders melody. In the secend verse Ruders' second, ascending and chrornatically coloured melody is added. In the subsequent verses more and more melodies are added. Thus the piece begins with Poul Ruders' melodic fragment in the foreground. In the course of the next verse Ruders' material gradually recedes into the background, and permits Bachs face to ernerge with increasing clarty in the foreground. The piece is dedicated to Poul Ruders. - Thomas Michelsen
Arrangement
- 1 Flute
- 1 Oboe
- 1 Clarinet In Bb
- 1 Bassoon
- 1 Horn in F
- 1 Trumpet in Bb
- 1 Trombone (Tenor)
- 1 Vibraphone (Motor Off)
- 1 Harp
- 1 Piano
- 1 Violin I
- 1 Violin II
- 1 Viola
- 1 Cello
- 1 Double Bass
A Chorale arranged for 15 Instruments. Full Score for ensemble. Bach's Befichl du deine Wege is a chorale setting (BWV 272), which Hans Abrahamsen has arranged for fifteen instruments. In Hans Albrahamsen's adaptation Bachs chorale gradually ernerges from two melodic fragments, both borrowed from the Danish composer Poul Ruders' Four Dances in One Movernent'. In fact both fragments are taken from the last three bars of Ruders' composition. One of Ruders' small melodies is descending, the other is ascending. The metamorphosis from Ruders to Bach can be accomplished because both of Ruders' melodic fragments are in fact 'hidden' among the parts of this Bach choraleinasmuch as the composer has transposed it into B minor. In the first verse we hear only the descending Ruders melody. In the secend verse Ruders' second, ascending and chrornatically coloured melody is added. In the subsequent verses more and more melodies are added. Thus the piece begins with Poul Ruders' melodic fragment in the foreground. In the course of the next verse Ruders' material gradually recedes into the background, and permits Bachs face to ernerge with increasing clarty in the foreground. The piece is dedicated to Poul Ruders.
- Thomas Michelsen Arrangement
- 1 Flute
- 1 Oboe
- 1 Clarinet In Bb
- 1 Bassoon
- 1 Horn in F
- 1 Trumpet in Bb
- 1 Trombone (Tenor)
- 1 Vibraphone (Motor Off)
- 1 Harp
- 1 Piano
- 1 Violin I
- 1 Violin II
- 1 Viola
- 1 Cello
- 1 Double Bass
$18.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Assembly Mass GIA Publications (+)
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Lord, Have Mercy
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Glory To God
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Gospel Acclamation (Alleluia)
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Verse for Ordinary Time
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Advent Gospel Verse
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Gospel Verses for the Christmas Season
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Gospel Verses for the Easter Season
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Holy, Holy
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Memorial Acclamation
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Concluding Acclamation (Doxology and Amen)
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Lamb Of God
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| Aurore Choral SATB SATB, Piano - Intermediate Carus Verlag
SSATB Choir, Piano - Grade 3 SKU: CA.927900 Composed by Gabriel Faure. Ar...(+)
SSATB Choir, Piano - Grade 3 SKU: CA.927900 Composed by Gabriel Faure. Arranged by Denis Rouger. Carus digital: Extra digital products. Full Score. Composed 1884. Op. 39,1. Duration 3 minutes. Carus Verlag #927900. Published by Carus Verlag (CA.927900). ISBN 9790007299316. Key: G major. French. Text: Silvestre, Armand. Over three verses, Aurore describes the approaching dawn through an intensifying piano accompaniment: shining out like fading stars, the short quarter notes in the first verse in G major give way in the second verse to a rippling sixteenth note accompaniment in the minor key. Shimmering harmonies allow the first rays of sun to shine in glistening drops of dew, and the dreams escape “like a light swarmâ€. The third verse returns to the key of G major, full of promise: the new day awakens with its promise of love and beauty.
This art song was originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted it to suit the requirements and expressive possibilities offered by a larger ensemble, without losing any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Christus vincit [score] Choral SATB SATB, Organ [Score] CanticaNOVA Publications
Composed by Kunc/Latona. Festive setting of a Latin text with Vatican melody. Ge...(+)
Composed by Kunc/Latona. Festive setting of a Latin text with Vatican melody. General. Score. Published by CanticaNOVA Publications (C5.5292-S).
$8.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Lord Is My Light Choral SSAATBB, Organ [Octavo] - Intermediate Jackman Music Corporation
By John R. Sweney. Arranged by James C. Kasen. Text: James Nicholson. For SSAATB...(+)
By John R. Sweney. Arranged by James C. Kasen. Text: James Nicholson. For SSAATBB Choir. Duration 3:15. Published by Jackman Music Corporation. Level: Medium Difficult / Medium (accompaniment).
(1)$1.70 $1.615 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Let all mortal flesh keep silence Choral SATB SATB, Organ - Easy Oxford University Press
SATB choir & organ (SATB) - easy SKU: OU.9780193869769 Composed by John R...(+)
SATB choir & organ (SATB) - easy SKU: OU.9780193869769 Composed by John R. Van Maanen. Sacred choral - mixed voices. Sacred, Choral Leaflet. Vocal score. 8 pages. Oxford University Press #9780193869769. Published by Oxford University Press (OU.9780193869769). ISBN 9780193869769. For SATB and organ. A setting of the familiar hymn tune 'Picardy' which is suitable for communion or Christmas. The first verse is set for men's voices with the inner verses set for SATB and SSA. The final SATB verse ends in a grand style in D major, unlike any other settings of this text and tune. $3.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| They, the Builders of the Nation [Octavo] Jackman Music Corporation
By Alfred M. Durham. Arranged by Mack Wilberg. Text: Ida R. Aldredge. For SAATBB...(+)
By Alfred M. Durham. Arranged by Mack Wilberg. Text: Ida R. Aldredge. For SAATBB Choir. Duration 3:30. Published by Jackman Music Corporation. Level: Medium / Medium-Difficult (accompaniment).
$1.70 $1.615 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Silent Night, Holy Night Choral SATB SATB [Octavo] - Intermediate Alfred Publishing
Stille Nacht, setting by Hal H. Hopson. For Organ and Opt. Strings. (SATB and C...(+)
Stille Nacht, setting by Hal H. Hopson. For Organ and Opt. Strings. (SATB and Congregation). Choral Octavo. H.W. Gray. Sacred, Christmas. Level: Moderate (grade 3). Choral Octavo. 12 pages. Published by Alfred Publishing.
$2.40 $2.28 (5% off) See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| True to the Faith Choral SSATTBB [Octavo] - Intermediate Jackman Music Corporation
By Evan Stephens. Arranged by A. Laurence Lyon. For SSATTBB choir. Medium Diffic...(+)
By Evan Stephens. Arranged by A. Laurence Lyon. For SSATTBB choir. Medium Difficullt. Octavo. Duration 3:00. Published by Jackman Music Corporation
$1.60 $1.52 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lord of All Hopefulness GIA Publications
2-part ChildrenÕs Choir, SA choir, SATB choir, keyboard accompaniment SKU...(+)
2-part ChildrenÕs Choir, SA choir, SATB choir, keyboard accompaniment SKU: GI.G-008763 Composed by Lisa Stafford. Lent 3 Year A. Tune Name: Slane. Sacred. Octavo. GIA Publications #008763. Published by GIA Publications (GI.G-008763). UPC: 641151087634. Stafford has arranged the well-loved hymn Lord of All Hopefulness,‚ sung to the tune SLANE, for children‚ and SATB choirs. The first verse features the children and the subsequent verses are written for 2-part men and 2-part women. The piece concludes with all forces joining in on verse 4 to bring Lord of All Hopefulness‚ to a tender close. $1.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| There Is a Green Hill Far Away Choral SATB SATB, Piano [Octavo] - Intermediate Jackman Music Corporation
By John H. Gower / arr. Manookin. Arranged by Robert P. Manookin. For SATB Choir...(+)
By John H. Gower / arr. Manookin. Arranged by Robert P. Manookin. For SATB Choir. Medium Difficult / Medium (accompaniment)
$1.15 $1.0925 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Brightest and Best Choral SATB SATB, Piano Boosey and Hawkes
SATB and Piano (Optional Organ) Boosey & Hawkes Contemporary Choral. Com...(+)
SATB and Piano (Optional
Organ) Boosey & Hawkes
Contemporary Choral. Composed
by Will Todd. Boosey & Hawkes
Sacred Choral. Classical,
Sacred. Octavo. 14 pages.
Boosey & Hawkes #M060133831.
Published by Boosey & Hawkes
$5.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Evening Service: the First Service (SATB) GIA Publications
SKU: GI.G-RCP57 Composed by Thomas Tomkins. Classical. 20 pages. GIA Publ...(+)
SKU: GI.G-RCP57 Composed by Thomas Tomkins. Classical. 20 pages. GIA Publications #RCP57. Published by GIA Publications (GI.G-RCP57). Edited by Edward Tambling Thomas Tomkins wrote no fewer than seven services: three full and four verse settings. The first two full services, as numbered in the posthumous publication of ‘Musica Deo Sacra’ (1668), are straightforward settings in the central Elizabethan style. The First Service is in the major mode, and the Second Service in the minor: the Third Service is a radical departure in style from these settings and is presented as a ‘Great Service’ in homage to Tomkins’ ‘ancient and much reverenced master, William Byrd’. The Fourth and Fifth are verse services, and a further two are present only in manuscript sources: the Sixth Service received its first modern publication in this series (CP17), edited and reconstructed by Peter James. The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history. This numbering system of one to seven is misleading, however, as it confuses the chronology of the compositions: some attempt to clarify this ordering is given in a table at the end of this edition in order to address this matter. Tomkins’ relatively late death places him well into the seventeenth century, at a time when musical fashions were changing and the Civil War was altering the course of British History. However, it is correct to describe him as ‘the last Elizabethan’, as his style remained conservative, as did the genres with which he worked and cultivated. ‘Musica Deo Sacra’ is supposed to have been supervised by his son Nathaniel, and collates much of Tomkins’ music not found in other sources. As such, it is a valuable resource for the material it contains, and is also a landmark in music publishing, in that it presents the first known printed organ book set in moveable type on two staves, an unrewarding process which seems to have caused considerable trouble for its printer, William Godbid. Even John Barnard in preparing his ‘First of Selected Church Musick’ (1641) did not go to the trouble of printing an organ part to supplement his vocal partbooks, instead providing his customers with a blank manuscript book into which the already ubiquitous organ parts could be copied by hand. As a result, Tomkins’ source as a whole contains a number of errors, but all of which can be corrected without distortion to the musical text, and the composer’s intention can be realised without too much difficulty.  In addition to the note on the ordering of the various services by Tomkins, I have endeavoured to give some brief information concerning the pitch of church music of this period with regards to the organ part, a subject much misunderstood and obfuscated by variously contradictory information.  It is hoped that this new edition of Tomkins’ First Evening Service will fill a need for short, attractive settings of the canticles for Evensong, furthering an appreciation of the music of the last great composer of the Renaissance era in Britain. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O My Father Choral SSAATTBB SSAATTBB A Cappella [Octavo] - Intermediate Jackman Music Corporation
By James McGranahan. Arranged by Crawford Gates. For SSAATTBB Choir. Medium Diff...(+)
By James McGranahan. Arranged by Crawford Gates. For SSAATTBB Choir. Medium Difficullt. Duration 6:55
$1.95 $1.8525 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Verse Anthems (Made to order) Stainer and Bell
SKU: ST.EC3 Composed by Orlando Gibbons. Edited by David Wulstan. Library...(+)
SKU: ST.EC3 Composed by Orlando Gibbons. Edited by David Wulstan. Library Volumes. Edited by David Wulstan. First published in 1964. Pages: 232. Format: A4 spiral-bound. Choral Score. Stainer & Bell Ltd. #EC3. Published by Stainer & Bell Ltd. (ST.EC3). ISBN 9780852495315. The form and style of the verse anthem were anticipated in the work of a number of 16th-century composers. However, it was only in the hands of Orlando Gibbons, one of the earliest musicians to write exclusively for the English rite, that it achieved new flexibility with the use of declamatory style in the verse sections. This first volume of his music contains 16 anthems, including See, see, the Word is incarnate and This is the record of John. $117.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| I Need Thee Every Hour Choral SSATTBB [Octavo] Jackman Music Corporation
By Robert Lowry. Arranged by Robert P. Manookin. For SSATTBB Choir. Medium Diffi...(+)
By Robert Lowry. Arranged by Robert P. Manookin. For SSATTBB Choir. Medium Difficullt
(1)$1.30 $1.235 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Come, Come Ye Saints Choral SSAATTBB SSAATTBB A Cappella [Octavo] - Intermediate Jackman Music Corporation
By Old English Tune / arr.Manoookin. Arranged by Robert P. Manookin. For SSAATTB...(+)
By Old English Tune / arr.Manoookin. Arranged by Robert P. Manookin. For SSAATTBB Choir. Medium / Medium-Difficult (accompaniment). Duration 4:00
$1.40 $1.33 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Away in a Manger Choral SATB SATB [Octavo] - Easy Jackman Music Corporation
By William J. Kirkpatrick / Arr. Hoffman. Arranged by Joseph Hoffman. For SATB C...(+)
By William J. Kirkpatrick / Arr. Hoffman. Arranged by Joseph Hoffman. For SATB Choir. Level: Medium Easy / Easy (accompaniment). Duration 2:45. Published by Jackman Music Corporation.
$1.30 $1.235 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| When in Our Music God Is Glorified - Organ Score Organ - Easy Choristers Guild
By Charles Villiers Stanford (1852-1924). Arranged by Cathy Moklebust. For organ...(+)
By Charles Villiers Stanford (1852-1924). Arranged by Cathy Moklebust. For organ. Level 2 . Organ score. Published by Chorister's Guild
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| When in Our Music God Is Glorified Handbells Choristers Guild
By Charles Villiers Stanford (1852-1924). Arranged by Cathy and David Moklebust....(+)
By Charles Villiers Stanford (1852-1924). Arranged by Cathy and David Moklebust. For 3-7 octave handbells with optional organ, brass quintet timpani SATB choir and congregation. General. Level 2 . Choral score. Published by Chorister's Guild
$1.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| America the Beautiful Choral SSATB SSATB A Cappella [Octavo] Jackman Music Corporation
Composed by Samuel A. Ward / Arthur Sullivan / arr. Lyon. Arranged by A. Laurenc...(+)
Composed by Samuel A. Ward / Arthur Sullivan / arr. Lyon. Arranged by A. Laurence Lyon. For SSATB choir. Patriotic, Choral. Medium / Difficult (accompaniment). Octavo. Published by Jackman Music Corporation
$1.60 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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