for Male Solo Vocal and Orchestra with opt. Chorus-Full set includes score parts vocal solo and 40 SATB octavos. Dur: 4:30

From the same team that gave us You Raise Me Up comes Raise Your Voices as recorded by Secret Garden on their Earthsongs album. The orchestration and female soloist give this anthem the authentic Celtic feelof the original recording. Perfect for any size ensemble church or sacred school settings complete with orchestra pak.Available separately: SATB SAB and SSA. Instrumental ePak includes score and parts for Flute F Horn BbTrumpet 1 2 Trombone Timpani Cymbals Violin 1 2 Viola Cello and String Bass. ChoirTrax CD also available. Performance Time: Approx. 4:00

From the same team that gave us You Raise Me Up comes Raise Your Voices as recorded by Secret Garden on their Earthsongs album. The orchestration and female soloist give this anthem the authentic Celtic feelof the original recording. Perfect for any size ensemble church or sacred school settings complete with orchestra pak.Available separately: SATB SAB and SSA. Instrumental ePak includes score and parts for Flute F Horn BbTrumpet 1 2 Trombone Timpani Cymbals Violin 1 2 Viola Cello and String Bass. ChoirTrax CD also available. Performance Time: Approx. 4:00

Above All features 12 powerful songs that are sure to find a place in any Palm Sunday Easter or Communion service. This collection is ideal for choirs ensembles and student choirs and the songs can be performedindividually or in four mini-musicals leading up to Easter. As a finale the DVD Accompaniment Trax features powerful visuals for the last three songs. Titles include: O Wondrous Love The Glories of Calvary Lord of Life andLove Above All Behold the Lamb. For All You've Done O Mighty Cross I Will Glory in the Cross All the Earth Will Sing Your Praises God So Loved Saved the Day My Redeemer Lives. Orchestration includes score and parts forFlute Oboe Clarinet Trumpet 1 2 3 Horn Trombone 1 2 3 Percussion 1 2 Violin Viola Cello String Bass Rhythm (Piano/Guitar/Bass). Instrumentation varies. SATB Listening CD CD Accompaniment Trax (Split) DVDAccompaniment Trax Orchestration CD 10-Pack CD Preview Pack also available.

Par BUNK GERARD. As a 20th century composer, Gerard Bunk developed a distinctive musical style comparable perhaps to that of Max Reger or Sigfrid Karg-Elert. In addition to Bunk?s large-scale organ work ?Legende? Op.29 and its symphonic version Op.29II, there is a further well-known ?Legende? Op.55b written for organ and string orchestra (or string quartet) which was composed in 1945. This edition offers the earlier version of this work, dating from 1914, in its original instrumentation for organ and brass quartet. In order to facilitate performance, the sketchily notated score is carefully supplemented by performance markings from the string version. What Albert Schweitzer praised in the earlier ?Legende?, ?the calm and vivid layout of the complete work?, is also recognisable in Bunk?s later composition: the catchy, modestly beautiful theme alongside the clear musical form of this ?Legende? for organ and brass quartet. - Scored for 2 Flugelhorns, French horn, Trombone - Attractive chamber music for brass with organ - Edited by the composer?s grandson - Also suitable for amateur ensembles / Date parution : 2022-07-30/ Répertoire / Orgue et Quatuor de Cuivres

Für Violine und Orchester Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the premi?re; the ‘child prodigy’ Joseph Joachim; and Hubert L?onard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to L?onard.The letter informs us that the composer invited L?onard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to L?onard.The recently discovered proofs reveal how L?onard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how L?onard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for L?onard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

A Cantata for Congregation and Choir. Par SORENSON HEATHER. A truly unique offering for the holidays, this one-of-a-kind resource puts congregational participation to front and center in the service of song. Ideal for a Lessons and Carols service or community carol sing, this compilation will be an essential part of your choral library. From tender manger cradle songs to glorious shouts of praise and adoration, this singular resource will give thoughtful worship planners the tools they need for an inclusive worship experience. Songs include: Joy to the World; Away in a Manger; O Come, All Ye Faithful; God Rest Ye Merry, Gentlemen; O Little Town of Bethlehem; The First Noel; Silent Night. Score and Parts for Orchestra (fl, ob, cl, hn, tpt, tbn, mallet perc, timp, perc, vn 1-2, va, vc) and String Quartet (vn 1-2, va, vc) available as a digital download. For the Accompaniment, Split, and Part Dominant Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. HL00428605: Accompaniment Tracks HL00428606: Split Tracks HL00428610: Part Dominant Tracks / Date parution : 2022-07-23/ Répertoire / Choeur Mixte SATB