By Various. Edited by Herbert Hildebrandt. This edition: Paperbound. Choral coll...(+)
By Various. Edited by
Herbert Hildebrandt. This
edition: Paperbound.
Choral collections.
Sacred, Hymn settings,
Motets, Psalms, German;
Choral Collections, SAM
Choir; Occasions: Praise
and thanks, Morning,
Midday, Evening, Psalms,
Mourning, Death; Use
during church year:
Special Days, End of the
church year, Easter and
Eastertide, Reformation.
Choral collection. 128
pages. Published by Carus
Verlag
For
SATB, S&T soloists &
Chamber Orchestra.
Composed by Daniel E.
Gawthrop. Vocal/Choral,
Sacred Choral. A
cappella. Choral Score.
Subito Music Corporation
#80209801. Published by
Subito Music Corporation
(SU.80209801).
Suitable for
concert or worship (esp.
All Saints) 1111; 2221;
timp, perc, hp, cel; stgs
Duration: 30'15 Text:
adapted from the New
Testament by Jane Griner
Published by: Dunstan
House Also available for
sale: Two churches, one
Presbyterian, one
Methodist, located in two
adjacent states, wanted
to commission a major
work for chorus and
orchestra to use in a
memorial service held
annually near the feast
of All Saints, but felt
that, considering the
costs involved in hiring
an orchestra for the
performance, they
couldn’t also
afford the commissioning
fee which an extended
work would necessitate.
Composer Daniel E.
Gawthrop put the two
directors in touch with
each other, and a joint
commission was conceived.
Originally, the plan
called for two completely
separate premières,
one at each church, but
as the directors
consulted on musical
matters they decided that
it would add an element
of ecumenism and outreach
to the project if they
joined the two choirs
together for both
performances.
Accordingly, on the first
of the two Sundays the
South Carolina
Presbyterians joined the
North Carolina Methodists
in their Sunday morning
services to sing the
première of Behold
This Mystery. On the
following Sunday the
travel was reversed for
the second première.
The involved choirs,
congregations, clergy and
directors all declared
the project a triumph.
Further performances
followed, and the piece
has now earned a place in
the small but
distinguished category
called Twentieth Century
Extended Works for Chorus
and Orchestra Which Have
Received More Than One
Performance. Behold This
Mystery is suitable
anywhere that you might
program a requiem, e.g.,
either in concert or
within the context of a
worship service. It lasts
about 27 minutes in
performance. Soprano and
Baritone soloists are
called for, although a
Tenor may be substituted
for the (rather high)
Baritone part if needed.
The choral parts are not
terribly difficult but
this is an extended work,
probably equivalent to
five or six typical
anthems. Instrumental
parts are not virtuosic;
collegiate and
professional ensembles
should have no trouble
preparing the piece with
only a few rehearsals.
Minimum order quantity: 8
copies. Perusal copies
are available by
contacting
office@DunstanHouse.com
b> (include the
organization name with
your request). To order
quantities fewer than
8.
Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0....(+)
Chorus (with soloists)
and piano (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc)
SKU:
BR.ED-10296
Hail!
Bright Cecilia.
Composed by Henry
Purcell. Edited by
Christopher Hogwood.
Choir; stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 80
pages. Duration 60'.
Breitkopf and Haertel #ED
10296. Published by
Breitkopf and Haertel
(BR.ED-10296).
ISBN
9790220101977. 7.5 x 11
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (u...(+)
(Christmas Carols For
Mixed Voices) Edited by
Graham Buckland. For SATB
choir (unaccompanied).
Format: a capella
songbook. With choral
notation, lyrics,
performance notes,
introductory text and
index of first lines.
Christmas and holiday.
224 pages. 9x12 inches.
Published by
Baerenreiter-Ausgaben.
Choral (Vocal Score) SKU: HL.402077 For Soprano Solo, Children's Choir...(+)
Choral (Vocal Score)
SKU: HL.402077
For Soprano Solo,
Children's Choir and
Orchestra. Composed
by Nico Muhly. Choral.
Classical. Octavo.
Duration 1500 seconds.
St. Rose Music
#SRO100186-01. Published
by St. Rose Music
(HL.402077).
ISBN
9781705160084. UPC:
196288056829.
9.0x12.0x0.276
inches.
The Right
of Your Senses is a set
of nine songs for
children's voices, solo
soprano, and orchestra
written for the National
Children's Chorus,
American Youth Symphony
and Los Angeles
Philharmonic Association.
The texts are primarily
17th-century, by Thomas
Traherne and George
Herbert, but two of them
come from the
11th-century Enchiridion
by Byrhtferth. The
overarching theme is the
story of creation, but
not just the list of
objects created: the
texts deal with the
emotional resonances of
the sun, the sea, the
air, and the moon with
all their mysterious,
bright, and dark
potential. There is a
recurring gesture in the
strings, introduced at
the very top: a simple
descending pattern which
binds many of the
movements together, even
when hidden in the more
tumultuous sections. The
first two movements are
bright, whereas the
middle three movements
are violent and deal with
the angrier natural
elements. The seventh
movement is the most
abstract and playful, and
here a direct nod to
Benjamin Britten's A
Ceremony of Carols, with
a fast three-part canon
depicting the behavior of
the atom. The eighth
movement, Night, is the
slowest, and depicts the
night sky. The final
movement is calm, and
encourages us: Be
faithful in a little, and
you shall be master over
much. The piece ends with
five strokes of high
bells. x Nico Muhly.
By Sally K. Albrecht And Jay Althouse, Recording Orchestrated By Steve Herold. M...(+)
By Sally K. Albrecht And
Jay Althouse, Recording
Orchestrated By Steve
Herold. Musicals and
Programs. Secular. 5
Books. 40 pages.
Published by Alfred
Publishing.
By David Willcocks; John Rutter. For Mostly SATB and piano. Mixed Voices. . . . ...(+)
By David Willcocks; John
Rutter. For Mostly SATB
and piano. Mixed Voices.
. . . for Choirs
Collections. Christmas
Choral Collection. Pack
of 10 copies. 384 pages
The Unfriendly Beasts (Preview Pack). (Preview Pack). By Ruth Elaine Schram. Cho...(+)
The Unfriendly Beasts
(Preview Pack). (Preview
Pack). By Ruth Elaine
Schram. Choir Sacred.
This edition: Preview
Pack (1 Singer's Edition
and Listening CD).
Christian Elementary
Musical; Church Musicals;
Worship Resources.
Children; Christmas;
Sacred; Winter. Book and
CD. 16 pages. Published
by Alfred Music
Publishing
By Sally K. Albrecht And Jay Althouse, Recording Orchestrated By Steve Herold. M...(+)
By Sally K. Albrecht And
Jay Althouse, Recording
Orchestrated By Steve
Herold. Musicals and
Programs. Secular. Score.
60 pages. Published by
Alfred Publishing.
Bass trombone solo with 6-part trombone choir - advanced SKU: CY.CC2580 C...(+)
Bass trombone solo with
6-part trombone choir -
advanced
SKU:
CY.CC2580
Composed by
Ryan Diefendorfer.
Arranged by Ryan
Diefendorfer.
Contemporary. Score and
parts. Published by
Cherry Classics
(CY.CC2580).
Stephansdom is
a new composition,
descriptive of the iconic
St. Stephan's Cathedral
in central Vienna. Ryan
Diefendorfer wrote this
work for the Indiana
University Trombone
Ensemble for Bass
Trombone solo and
Trombone Choir (6-part)
to be performed by Carl
Lenthe at the 2012
Eastern Music Festival.
Ryan's work was awarded
the winner of the 2012
Eastern Trombone Workshop
National Composition
Competition.
St.
Stephen's Cathedral, also
known as Stephansdom, is
one of Vienna's most
remarkable city icons.
Dating back to 1137,
Stephandsom towers above
the rest of Vienna's
skyline and has been a
constant presence in the
lives of the Viennese for
nearly one thousand
years. Among the
buildings that the
Viennese find closest to
their hearts, Stephansdom
is certainly one of
them
I.
Groundbreaking The
first movement depicts
the troubles that St.
Stephen's Cathedral had
in getting its
groundbreaking as a
church. The opening of
the piece marks the
celebration of the
Viennese when St.
Stephen's was first
constructed in 1137,
during the Romanesque
era. However, the church
faced many
issues—from being
destroyed by the
Babenberg Empire to being
decimated by a
fire—before the
church began its
construction in the
Gothic style in 1307. The
first movement depicts
these struggles before
resolving to an open
chord.
II.
Steffl Steffl, the
nickname for
Stephansdom's soaring
north tower, is one of
the characteristics of
the cathedral that the
Viennese find so
endearing. This movement
is very upbeat and is
meant to portray the
excitement shared by the
Viennese for this
beautiful addition to
Stephansdom, which was
completed in 1433.
Stephansdom's north tower
is the tallest structure
in Vienna, and distinctly
stands out within
Vienna's
skyline.
II
I. 1945 As World War
II was coming to a close
in 1945, Stephansdom's
roof caught fire from a
neighboring building,
destroying large portions
of the church. One climax
occurs at m.30, which
depicts Stephansdom's
great bell, the Pummerin,
crashing down to the
ground. This movement
depicts the chaotic
nature of the raging fire
of
1945.
IV.
Anton Pilgrim Anton
Pilgrim was the last, and
perhaps most beloved,
architect who worked on
St. Stephen's Cathedral
in the Gothic style. One
of his most famous
projects was the St.
Stephen's organ loft,
which is depicted by an
opening organ-like canon.
The final movement to the
piece ends in a
chorale-like fashion,
demonstrating the
Viennese's love for Anton
Pilgrim, as well as
Stephansdom, one of
Vienna's most iconic
sights.
This
work of 12 minutes in
length is appropriate for
advanced performers.
Version
for chamber
orchestra. Composed
by Antonin Dvorak. Edited
by Joachim Linckelmann.
Arranged by Joachim
Linckelmann. Carus sheet
music series: Great
choral works in small
scorings. Sacred vocal
music, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Choral
Score. Composed
1876/1877. Op. 58. 36
pages. Duration 90
minutes. Carus Verlag #CV
27.293/05. Published by
Carus Verlag
(CA.2729305).
ISBN
9790007181086. Text
language:
Latin.
Antonin
Dvorak's impressive
Stabat Mater for
soloists, chorus and
orchestra is probably the
best-known of the
composer's sacred works.
Some painful experiences
- in 1875 his first
daughter died, and in
1877 he lost two other
children in quick
succession - may have led
to Dvorak's preoccupation
with the suffering of the
Mother of God, who stands
weeping beneath the cross
of her son. The music
enters into the different
moods of the liturgical
texts with great
sensitivity. Nine
movements in slow to
moderate tempi serve as a
kind of Passion
meditation, before the
ecstasy of a vision of
the resurrection wins the
upper hand at the end of
the tenth movement. With
our newly-published
arrangement for chamber
orchestra (flute, oboe,
clarinet, horn, bassoon,
timpani, and strings),
smaller choirs now have
the opportunity of
performing this work
without the choir being
drowned out by a
large-scale symphony
orchestra. The symphonic
character of the work is
nevertheless preserved.
This scoring offers an
optimal balance between
transparency and
orchestral sound. All
vocal parts (soloists and
chorus) are identical
with the original
version. Vocal score and
choral score can be used
also together with the
original version, which
is in preparation.
Version
for chamber
orchestra. Composed
by Antonin Dvorak. Edited
by Joachim Linckelmann.
Arranged by Joachim
Linckelmann. Carus sheet
music series: Great
choral works in small
scorings. Sacred vocal
music, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Vocal score.
Composed 1876/1877. Op.
58. 120 pages. Duration
90 minutes. Carus Verlag
#CV 27.293/03. Published
by Carus Verlag
(CA.2729303).
ISBN
9790007171797. Text
language:
Latin.
Antonin
Dvorak's impressive
Stabat Mater for
soloists, chorus and
orchestra is probably the
best-known of the
composer's sacred works.
Some painful experiences
- in 1875 his first
daughter died, and in
1877 he lost two other
children in quick
succession - may have led
to Dvorak's preoccupation
with the suffering of the
Mother of God, who stands
weeping beneath the cross
of her son. The music
enters into the different
moods of the liturgical
texts with great
sensitivity. Nine
movements in slow to
moderate tempi serve as a
kind of Passion
meditation, before the
ecstasy of a vision of
the resurrection wins the
upper hand at the end of
the tenth movement. With
our newly-published
arrangement for chamber
orchestra (flute, oboe,
clarinet, horn, bassoon,
timpani, and strings),
smaller choirs now have
the opportunity of
performing this work
without the choir being
drowned out by a
large-scale symphony
orchestra. The symphonic
character of the work is
nevertheless preserved.
This scoring offers an
optimal balance between
transparency and
orchestral sound. All
vocal parts (soloists and
chorus) are identical
with the original
version. Vocal score and
choral score can be used
also together with the
original version, which
is in preparation.
Choral (SATB) SKU: HL.14020971 Composed by Sir Peter Maxwell Davies. Musi...(+)
Choral (SATB)
SKU:
HL.14020971
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical,
General Worship, Sacred.
Choral Score. Composed
1999. 8 pages. Chester
Music #CH59881. Published
by Chester Music
(HL.14020971).
ISBN
9780711928756.
6.75x9.75x0.039
inches.
This work
was commissioned for the
choir of St. Paul's Old
Church, Edinburgh, who
gave the first
performance on the 11th
of June 1989 at St.
Giles' Church, Edinburgh,
conducted by Leslie
Shankland. This is a
setting in Scots of the
passage in the Apocalypse
where St. John hears a
voice from the throne,
that voice appearing here
as soprano-alto duets
from a distance,
building, as Davies has
said, ' fine bridge' from
the time of the Edinburgh
church to the present.
Both vocal groups sing in
translucent modal harmony
with organ support.
Orchestra Soli STB, Coro SATB, 2 Blfl f1, 2 Ob, Tr, 2 Vl, Va, Bc - Level 3 SK...(+)
Orchestra Soli STB, Coro
SATB, 2 Blfl f1, 2 Ob,
Tr, 2 Vl, Va, Bc - Level
3
SKU: CA.3112707
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Study
score. Composed 1725. BWV
127. 44 pages. Duration
21 minutes. Carus Verlag
#CV 31.127/07. Published
by Carus Verlag
(CA.3112707).
ISBN
9790007245177. Key: F
major. Language:
German/English. Text:
Eber, Paul.
Cantata
BWV 127 belongs to the
cycle of chorale cantatas
which Bach performed in
1724/25 in Leipzig. It
bears close links to the
St John Passion, which
was performed on Good
Friday 1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score available
separately - see item
CA.3112700.
Choral SAB choir, piano SKU: CF.CM9730 Composed by Andrew Steffen. 16 pag...(+)
Choral SAB choir, piano
SKU: CF.CM9730
Composed by Andrew
Steffen. 16 pages.
Duration 2 minutes, 48
seconds. Carl Fischer
Music #CM9730. Published
by Carl Fischer Music
(CF.CM9730).
ISBN
9781491161098. UPC:
680160919697. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jonas Halgrimsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him. The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
illicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven.... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.
https://digicoll.library.
wisc.edu/Jonas/Alheim/Alh
eim.html A good friend
asked if I would write a
song for her ensemble.
The parameters were that
it had to be three-part
with a limited range in
the Bass part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson's writings.
There is such a need for
three-part music that is
both exciting,
accessible, and
challenging. Director's
Note Truly consider how
the work can come to
'life' off the page. Rise
and fall with phrase and
sometimes each note. The
magic exists beyond the
ink on the page!
Consideration to range,
tessitura, and content
was all considered as
part of this process in
creating music that is
accessible to all
programs and ensembles
Accompaniment Note The
accompaniment can look
intimidating, but please
feel free to alter the
pulsing eighth notes in
the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. AboutJónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
illicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven.... Â The pure
and almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.  Â
https://digicoll.library.
wisc.edu/Jonas/Alheim/Alh
eim.htmlA good friend
asked if I would write a
song for her
ensemble. The
parameters were that it
had to be three-part with
a limited range in the
Bass part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings.  There
is such a need for
three-part music that is
both exciting,
accessible, and
challenging. Director
€™s NoteTruly
consider how the work can
come to
‘life’ off
the page. Rise and
fall with phrase and
sometimes each note.Â
The magic exists beyond
the ink on the
page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensemblesAccompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, S...(+)
By George Frideric Handel
; Donald Burrows
(Editor). For Soprano,
Tenor, Bass, SATB Choir,
Piano Accompaniment.
Baroque. Sheet Music. 168
pages. Published by
Novello and Co Ltd.
Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Complete
orchestral parts.
Innovative practice aids,
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Composed
1736/1751. HWV 75.
Duration 85 minutes.
Carus Verlag #CV
55.075/19. Published by
Carus Verlag
(CA.5507519).
ISBN
9790007171438. Text
language:
German/English.
For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and
parts available
separately - see item
CA.5507500.
Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext. 2x
55.075/21 2 flutes, 1x
55.075/22 oboe 1, 1x
55.075/23 oboe 2, 3x
55.075/24 3 bassoons, 2x
55.075/31 2 horns, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets.
Stuttgart Urtext Edition:
Handel. Harmony parts.
Innovative practice aids,
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Composed
1736/1751. HWV 75.
Duration 85 minutes.
Carus Verlag #CV
55.075/09. Published by
Carus Verlag
(CA.5507509).
ISBN
9790007226794. Text
language:
German/English.
For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and
parts available
separately - see item
CA.5507500.
Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Organ. Innovative
practice aids, Sacred
vocal music, Oratorios.
Single Part, Organ.
Composed 1736/1751. HWV
75. 60 pages. Duration 85
minutes. Carus Verlag #CV
55.075/49. Published by
Carus Verlag
(CA.5507549).
ISBN
9790007171315. Text
language:
German/English.
For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and part
available separately -
see item CA.5507500.
Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Innovative
practice aids, Sacred
vocal music, Oratorios.
Choral Score. Composed
1736/1751. HWV 75. 40
pages. Duration 85
minutes. Carus Verlag #CV
55.075/05. Published by
Carus Verlag
(CA.5507505).
ISBN
9790007171230. Text
language:
German/English.
For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score
available separately -
see item CA.5507500.
Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Innovative
practice aids, Sacred
vocal music, Oratorios.
Full score. Composed
1736/1751. HWV 75. 184
pages. Duration 85
minutes. Carus Verlag #CV
55.075/00. Published by
Carus Verlag
(CA.5507500).
ISBN
9790007167769. Language:
German/English.
For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements.
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original.
The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud.