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.
Choral SATB Choir and Piano SKU: PR.312418770 No. 1 from Second April<...(+)
Choral SATB Choir and
Piano
SKU:
PR.312418770
No. 1
from Second April.
Composed by Eric Ewazen.
Octavo. Performance
Score. Theodore Presser
Company #312-41877.
Published by Theodore
Presser Company
(PR.312418770).
ISBN
9781491138120. UPC:
680160640195. Second
April, by Edna St.
Vincent
Millay.
Second
April for S.A.T.B. Chorus
and Piano is a
four-movement set, based
on the poetry of Edna St.
Vincent Millay. Ewazen
has long been enamored
with her poetry's
wonderfully vivid and
descriptive imagery of
nature and emotions, and
its powerful and profound
meaning. The first
movement, SONG OF A
SECOND APRIL is dramatic,
detailing a time of
personal strife and
tragedy, perhaps the end
of a relationship or even
the end of a life. The
music is intense, fast,
in a minor key, creating
a feeling of powerful,
relentless emotions.
Little by little, the
music almost dies away,
getting quieter and
quieter, creating a
feeling of resignation,
but with a surprise
Picardy Third in the
final chord –
suggesting a bit of
hope!. SECOND APRIL
for S.A.T.B. Chorus and
Piano is a four-movement
set, based on the poetry
of Edna St. Vincent
Millay. I have long been
enamored with the poetry
of Millay for its
wonderfully vivid and
descriptive imagery, and
its often powerful and
profound meaning.
Millay’s descriptions
of nature, and of
feelings and emotions,
have always spoken to me.
SECOND APRIL consists of
four of her poems, each
with a distinctive mood,
message, and emotional
feel. They are vivid,
powerful, and beautiful,
inspiring me to capture
these descriptions of the
various scenes she
portrays. Song of a
Second April uses music
to underlie strong
feelings, passions, and
the tragedies of life.
The poem itself is
dramatic, detailing a
time of personal strife
and tragedy, perhaps the
end of a relationship or
even the end of a life.
The music is intense,
fast, in a minor key, and
with rapid, spinning
notes creating a feeling
of powerful, relentless
emotions. Melodies,
motives, and gestures are
tossed between the
voices, increasing the
feelings of intensity and
even desperation. Little
by little, the music
almost dies away, getting
quieter and quieter,
creating a feeling of
resignation, but with a
Picardy Third in the
final chord – maybe a
bit of hope! Mariposa
is a celebration of
nature, wandering through
a field with white and
blue butterflies
appearing almost
wondrously. But there’s
also a profound feeling
of poignancy, noting that
as one relishes such a
beautiful, magical sight,
they should embrace the
experience – the
fleeting, transient
nature of such a perfect
vision and of life
itself. The music
portrays the flying of
the butterflies: gentle,
beautiful, with rich
chords and arpeggios, but
stepping back, as the
fleeting nature of life
is the reality, with
gentle, but sombre chords
interspersed with the
magical flight of the
Mariposa.Alms is a fast
rondo, intense, bold, and
always dance-like. It is
about both tragedy and
resilience. This music is
also in minor, yet with
moments of playfulness,
as a recollection of
happy times or moments
takes over. This seesaw
between emotions is heard
throughout the movement,
as the music continues to
“dance.” And with
Millay’s summing up of
“reality being what it
is,” the piece ends
with strength, boldness,
and finality. Into the
Golden Vessel of Great
Song is an appassionato
call to overcome! The
poem exhorts us to
“sing out” with hope,
determination, and
strength. The music is
full of bright and
lilting energy; but as
the turmoil and times of
strife people can
sometimes feel or
experience, the music
becomes intense,
dramatic, in a minor key,
and with changing
rhythms. BUT, there is a
return to championing the
idea of simply
overcoming, going forward
with hope and
determination, and the
music is in major,
resonant and strong.
.
Composed by George Frideric Handel (1685-1759). Edited by Amanda Babington. Arra...(+)
Composed by George
Frideric Handel
(1685-1759). Edited by
Amanda Babington.
Arranged by Andreas Kohs.
For alto voice solo,
tenor voice solo, bass
voice solo, SSATB choir,
piano reduction. This
edition: urtext edition.
Paperback. Level 3. Vocal
score. HWV 283. Published
by Baerenreiter Verlag
Double SATB Choir
Unaccompanied.
Composed by Judith Weir.
Choral. Concert. Octavo.
16 pages. Duration 240
seconds. Chester Music
#CH88205. Published by
Chester Music
(HL.427582).
ISBN
9781705162620. UPC:
196288062790.
6.75x10.5x0.019
inches.
This
setting of Christina
Rossetti's poem
“Then Shall Ye
Shout†for
unaccompanied double
choir was commissioned by
Help Musicians UK for its
annual St Cecilia's
Festival service and
first performed by the
Choirs of St Paul's
Cathedral, Westminster
Abbey, and Westminster
Cathedral on 17 November
2021. Rossetti's text
describes singers biding
their time and staying
silent until the moment
they are able to come
together again and sing,
loudly and with passion.
The piece commemorates
the period in 2020 during
which musicians were
unable to perform due to
lockdowns caused by the
global pandemic.
Music Drama in 3
Acts. Composed by
Richard Wagner. Choir;
stapled. Chor-Bibliothek
(Choral Library).
Richard Wagner wrote
Tristan and
Isolde in the years
1857 to 1859. The first
edition was published by
Breitkopf & Hartel in
Leipzig in 1860. The
world premiere took place
in the Konigliches Hof-
und National-Theater in
Munich on 10 June 1865 u.
Opera; Music theatre;
Romantic. Choral score. 8
pages. Breitkopf and
Haertel #ChB 138-02.
Published by Breitkopf
and Haertel
(BR.CHB-138-02).
ISBN
9790004400791. 6 x 8.5
inches.
Translation
s: engl. (H. und F.
Comer), french (A.
Ernst/P. Bruck) Place:
Tristan's ship, King
Mark's castle in
Cornwall, Tristan's
castle Characters:
Tristan (tenor) - King
Mark (bass) - Isolde
(soprano) - Kurwenal
(baritone) - Melot
(tenor) - Brangane
(mezzo-soprano) -
Shephard (tenor) - Mate
(baritone) - Voice of a
young sailor (tenor)In
1856 pressing financial
obligations forced Wagner
to interrupt the
composition of the Ring
to work on Tristan und
Isolde. He initially
planned a work that was
modest in its production
and performance demands.
The project was also
given priority not least
because of the prospect
of the royalties which he
would then receive. He
once again turned to
Breitkopf & Hartel for
the performance material:
'Tristan und Isolde' is
scheduled to be given its
first performance at the
end of this year. I still
hope that it will take
place in Karlsruhe under
my guidance. Due to the
celebrity that I have now
acquired, I assume that a
new and easily
performable work of mine
should be able to spread
very quickly across the
German stages in its
first winter season.
Wagner was wrong.
although the publisher
had spent a great deal of
time and money in
producing preliminary
material, Wagner wrote to
Breitkopf & Hartel from
Munich in November 1864:
The squalor of Germany's
opera singers and the
vile condition of its
opera houses have so far
dissuaded me from
allowing a performance of
'Tristan und Isolde'.
What I needed was an
impassioned young monarch
to restore my courage.
Next spring you will hear
about the work's premiere
in Munich, and you will
then hopefully become
more confident about this
publication.
Richa
rd Wagner wrote Tristan
and Isolde in the years
1857 to 1859. The first
edition was published by
Breitkopf & Hartel in
Leipzig in 1860. The
world premiere took place
in the Konigliches Hof-
und National-Theater in
Munich on 10 June 1865
under the direction of
Hans von Bulow.
Hail! Bright
Cecilia. Composed by
Henry Purcell. Stapled.
Eulenburg Orchestral
Series. Renaissance/early
Baroque; Baroque. Part.
20 pages. Duration 60'.
Breitkopf and Haertel
#EOS 8063-26. Published
by Breitkopf and Haertel
(BR.EOS-8063-26).
ISBN
9790004789810. 8.5 x 11.5
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).
(Performance Pack). By Ruth Elaine Schram. Choir Sacred. This edition: Performan...(+)
(Performance Pack). By
Ruth Elaine Schram. Choir
Sacred. This edition:
Performance Pack
(Director's Score and 10
Singer's Editions).
Christian Elementary
Musical; Church Musicals;
Worship Resources.
Children; Christmas;
Sacred; Winter. Score and
10 Books. 32 pages.
Published by Alfred Music
Publishing
) (Singer's Edition 5-Pack). By Ruth Elaine Schram. Choir Sacred. This edition: ...(+)
) (Singer's Edition
5-Pack). By Ruth Elaine
Schram. Choir Sacred.
This edition: Singer's
Edition 5-Pack. Christian
Elementary Musical;
Church Musicals; Worship
Resources. Children;
Christmas; Sacred;
Winter. 5 Books. 16
pages. Published by
Alfred Music Publishing
Choral (SATB) - Grade 3 SKU: HL.259449 SSATB with Rehearsal Piano Acco...(+)
Choral (SATB) - Grade 3
SKU: HL.259449
SSATB with Rehearsal
Piano Accompaniment.
Composed by James
Whitbourn. Choral.
Classical, General
Worship, Sacred. Octavo.
12 pages. Chester Music
#CH86658. Published by
Chester Music
(HL.259449).
UPC:
888680747442.
6.5x10.0x0.029
inches.
James
Whitbourn's “Beatus
Vir†(Blessed is
the man who fears the
Lord) is here set for
SSATB choir. With long,
supporting lines are sung
by the lower voices, the
soprano 1 & 2 weave
mellismatic lines over
the top in a chant-like
style. Composer Whitbourn
is known for his rich
harmonies and shifting
tonal centers and this
new work is true to this
style. Commissioned for
the Choir of St
MatthewÂ’s Church,
Northampton. First
performed on St Matthew's
Day, 21 September 2017,
conducted by Justin
Miller.
Urtext der Neuen
Mozart-Ausgabe.
Composed by Johann
Sebastian Bach. Edited by
Ernest May and Klaus
Hofmann. This edition:
complete edition, urtext
edition. Linen. New Bach
Edition (NBA) I/20.
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA05059_01.
Published by Baerenreiter
Verlag (BA.BA05059-01).
ISBN 9790006462919. 33
x 26 cm
inches.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Take Him, Earth Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano
SKU: PR.342402020
In Memoriam John F.
Kennedy, 1917-1963.
Composed by Steven
Stucky. Sws. Premiered by
ACDA National Conference,
Craig Jessop, cond.;
Meyerson Symphony Center,
Dallas, TX. Secular
choral. Performance
Score. With Standard
notation. Composed
November 3 2012. 24
pages. Duration 13
minutes. Theodore Presser
Company #342-40202.
Published by Theodore
Presser Company
(PR.342402020).
ISBN
9781598064995. UPC:
680160616084. 8.5 x 11
inches. English. Text:
William Shakespeare;
Aurelius Prudentius
Clemens; Aeschylus.
Aurelius Clemens, William
Shakespeare, Aeschylus.
Texts from Aurelius
Prudentius Clemens,
Aeschylus, and William
Shakespeare.
When
Tim Sharp, Executive
Director of the ACDA,
offered Stucky the Brock
Memorial Commission, it
was decided that the text
would commemorate the
50th anniversary of the
assassination of John F.
Kennedy, since the annual
convention would take
place in Dallas of that
year. To that end, Stucky
chose four different but
pertinent texts to honor
the occasion, although
never referencing JFK by
name. Take Him, Earth was
premiered at the ACDA
convention in March,
2013. Originally scored
for chorus and chamber
ensemble of nine
instruments (available on
a rental basis), Take
Him, Earth is presented
here in piano reduction.
For advanced choirs.
Duration: 13'. When
Tim Sharp, Executive
Director of the American
Choral Directors
Association, very
kindlyoffered me the
Raymond W. Brock Memorial
Commission for 2013, he
suggested that because
thepremiere would take
place at the national
conference in Dallas in
the 50th year since the
assassinationof John F.
Kennedy in that city, the
text might refer in some
way to that grim
anniversary. Hesuggested,
too, that I consider
using a chamber ensemble
or chamber orchestra to
accompany thechorus.I
took these suggestions to
heart, but at the same
time I wanted to write
something universal
enoughto be appropriate
on other occasions, in
other settings. Thus the
score is dedicated to
PresidentKennedy’s
memory, but otherwise he
is never referred to by
name. Instead, I
assembled a group oftexts
that are associated with
him in some way, but that
also stand alone as a
more general eulogy.As a
refrain, there are a few
lines from the early
Christian burial hymn
that begins “Take
him,Earth, for
cherishingâ€
— lines that were
earlier set to music by
Herbert Howells in his
classic motetcommissioned
for Kennedy’s
memorial service in 1963.
The lines of Aeschylus
“Drop, drop
— inour sleep,
upon the heart sorrow
falls†from
Agamemnon were quoted by
Robert F. Kennedy uponthe
death of Martin Luther
King in April 1968. The
celebrated “When he
shall die, cut him out
inlittle starsâ€
from Act III of
Shakespeare’s
Romeo and Juliet was
cited by RFK a few months
after hisbrother’s
murder.
Choral SAB Choir, Piano SKU: CF.CM9703 Composed by Meredith Tompkins. Mjt...(+)
Choral SAB Choir, Piano
SKU: CF.CM9703
Composed by Meredith
Tompkins. Mjts. 12 pages.
Duration 3 minutes, 40
seconds. Carl Fischer
Music #CM9703. Published
by Carl Fischer Music
(CF.CM9703).
ISBN
9781491160107. UPC:
680160918706. Key: D
major. English.
Traditional
Scottish-Irish
blessing.
Blessing
of Light is an excerpt
from a Scottish-Irish
benediction of anonymous
authorship, which may
have originated from old
Celtic traditions. The
rich, poetic language
encourages hospitality
for both friends and
strangers and a charge to
cultivate the inner
spirit as a beacon of
light for others. This
SAB-setting offers
additional options for
soprano or alto divisi
and comfortable ranges
for men. Drawing
primarily from the
soundscape of a gently
sweeping Mixolydian mode,
this piece is designed to
remind the listener of
the distant past and its
connection to our
present. Modes have been
utilized in many cultures
at least since the
earliest days of recorded
history. Ancient Greek
musical modes were
revived and explored
during the Middle Ages,
and are sometimes
considered the fathers of
the scales we use today
in what is often labeled
tonal music, or music
rooted in Western
European musical
practices. Blessing of
Light is an accessible
introduction to modal
harmony for mixed choirs.
Modes are characterized
by combinations of half
or whole steps that form
a unique scale. The
Mixolydian scale in this
piece, for example, is
identical to the major
scale with the exception
of a lowered (or flatted)
7th scale degree. For
ease of use in
sight-reading, key
signatures are indicated
by the melodic tonal
center with the
chromatically altered
lowered 7th. When
introducing this piece,
it may be beneficial for
the conductor to begin
with warm-ups or
vocalizes utilizing the
scales below. Blessing
of Light is an excerpt
from a Scottish-Irish
benediction of anonymous
authorship, which may
have originated from old
Celtic traditions. The
rich, poetic language
encourages hospitality
for both friends and
strangers and a charge to
cultivate the inner
spirit as a beacon of
light for others. This
SAB-setting offers
additional options for
soprano or alto divisi
and comfortable ranges
for men.Drawing primarily
from the soundscape of a
gently sweeping
Mixolydian mode, this
piece is designed to
remind the listener of
the distant past and its
connection to our
present. Modes have been
utilized in many cultures
at least since the
earliest days of recorded
history. Ancient Greek
musical modes were
revived and explored
during the Middle Ages,
and are sometimes
considered the fathers of
the scales we use today
in what is often labeled
“tonal
music,†or music
rooted in Western
European musical
practices.Blessing of
Light is an accessible
introduction to modal
harmony for mixed choirs.
Modes are characterized
by combinations of half
or whole steps that form
a unique scale. The
Mixolydian scale in this
piece, for example, is
identical to the major
scale with the exception
of a lowered (or flatted)
7th scale degree. For
ease of use in
sight-reading, key
signatures are indicated
by the melodic tonal
center with the
chromatically altered
lowered 7th. When
introducing this piece,
it may be beneficial for
the conductor to begin
with warm-ups or
vocalizes utilizing the
scales below.
Choral (Listening CD) SKU: HL.35032529 A Service for Holy Week. Co...(+)
Choral (Listening CD)
SKU: HL.35032529
A Service for Holy
Week. Composed by
Douglas Nolan. Shawnee
Sacred. Cantata, Easter,
General Worship, Holy
Week, Sacred. CD.
Duration 2220 seconds.
Published by Shawnee
Press (HL.35032529).
ISBN 9781540040183.
UPC: 888680896898. 5x5
inches.
Written to
commemorate the Passion
of Christ, this cantata
is a moving tribute to
His life and ministry.
Composed for maximum
flexibility and scored
for SA(T)B voices, the
optional cued notes make
it possible for the
cantata to grow with your
choir. Smaller choirs
will enjoy the rich
textures and larger
ensembles will be able to
engage their full
resources. For churches
that desire an
instrumental component, a
very modest consort
instrumentation creates a
reverent accompaniment.
The narration contains
scriptures and prayers to
convey the graceful theme
of Christ's sacrificial
love. Ending with the
crucifixion, A Gathering
of Grace will set the
stage for Easter morning.
Songs include: Prelude of
Shadows; In the Stillness
of This Moment; Ask of
Me; Palm Branches; A
Light in the Upper Room;
Jesus, in Gethsemane; The
Day the Cross Held Up the
Sky; A Green Hill Far
Away; Recessional. Score
and Parts (fl, cl, hn,
perc, pno, hp, vn, vc)
available as a Printed
Edition and as a digital
download.
Dramma per musica in
three Acts. Composed
by Wolfgang Amadeus
Mozart. Edited by
Kathleen Kuzmick Hansell.
This edition: complete
edition, urtext edition.
Linen. Edition in 2
volumes. Complete
edition, Score. K. 135.
Duration 4 hours.
Baerenreiter Verlag
#BA04590_01. Published by
Baerenreiter Verlag
(BA.BA04590-01).
ISBN
9790006451296. 33 x 26 cm
inches. Text Language:
Italian. Text: Giovanni
de Gamerra.
On 13
December 1769 Leopold
Mozart and his son
Wolfgang set out on their
first tour of Italy. It
was not until 28 March
1771 that they finally
returned to Salzburg. The
trip brought the young
composer two commissions
for opere serie. In March
1770 he was commissioned
to write Mitridate, K.87
(74a), for the 1770-71
Carneval season at the
Regio Ducal Teatro in
Milan. Mozart started
work on the opera in
Bologna on 29 September
1770, and the premiere
duly took place on the
Feast of St. Stephen (26
December) in 1770. The
second, Lucio Silla (K.
135), again commissioned
for the 1771-72 Carneval
season in Milan,
doubtless resulted from
the success of Mitridate.
News of the commission
reached the Mozarts in
March 1771 in Verona,
where they had stopped on
their return to Salzburg.
(At roughly the same time
Wolfgang received an
invitation from Vienna to
supply a serenata
teatrale for the wedding
of Archduke Ferdinand,
the third son of Maria
Theresia, scheduled to
take place in Milan in
October 1771. This
invitation ultimately
resulted in Ascanio in
Alba, K. 111.)
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Colditz Castle Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000438-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000438-140
Composed by Rob Goorhuis.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000438-140. Published by
Gobelin Music
Publications
(BT.GOB-000438-140).
Written as a
commission by the
Stichting de Inrichting
foundation of Wijk bij
Duurstede (the
Netherlands), Rob
Goorhuis Requiem voor de
mens (Requiem for Man) on
lyrics by André van
Zwieten was composed in
the year 2001. This
work for choir
andwind-band greatly
impressed the audience,
whilst its composer
remained obsessed by its
war theme.
When
he subsequently heard
that the Rundfunk
Blasorchester from the
German town of Leipzig -a
place not far from
Colditz - was to dedicate
a CDto his work, Rob
Goorhuis got the idea to
process some of the
themes from his Requiem
for Man into an
instrumental composition
about the famous Colditz
castle. a place still
bearing the scars of war.
From 1933 to
1934, the castle was
aSchutzhaftlager. During
the Second World War, it
was used as a prison for
senior officers. From
this prison, many escapes
were undertaken, which
even resulted in the
castle being nicknamed
The Escape School. In the
seventies, a
television-seriesabout
this period made the
castle very well-known
with the public at
large.
The
despondent tone of the
opening theme underscores
the sadness caused by
wars and violence.
Nevertheless the works
ending is hopeful and
triumphant. Peace
iscelebrated, but with
the hope for a lasting
peace sadly remaining a
topical issue to the
present moment.
In
2001 schreef Rob
Goorhuis, op teksten van
André van Zwieten het
Requiem voor de Mens, in
opdracht van de Stichting
de Inrichting uit Wijk
bij Duurstede. Dit
werk voor koor en
harmonie-orkest maakte
grote indruk op het
publiek, terwijl
decomponist bleef
geobsedeerd door het
oorlogs thema.
Toen hij later
hoorde dat het Rundfunk
Blasorchester uit de
Duitse stad Leipzig, een
plaats niet ver van
Colditz, gevraagd was om
een cd te wijden aan zijn
werk, kreeg Rob Goorhuis
het ideeom enkele van de
themas uit zijn Requiem
voor de Mens te verwerken
tot een instrumentale
compositie over de
beroemde kasteel Colditz,
een plaats met nog steeds
de littekens van de
oorlog. Het kasteel
van Colditz heeft in de
historie eenbelangrijke
rol gespeeld. Het
eeuwenoude kasteel
overleefde vele
veldslagen en oorlogen.
In de Tweede Wereldoorlog
diende het kasteel zelfs
als gevangenis voor
geallieerde officieren.
Het aantal ontsnappingen
was echter talrijk en de
geromantiseerdeBritse
TV-serie uit de jaren
zeventig over dat
onderwerp gaf het kasteel
een grote bekendheid.
Het driedelige werk
beschrijft de periode
voor, tijdens en na de
Tweede
Wereldoorlog.
De
angst voor dat wat staat
te gebeuren en het
verdrietvan jaren van
oorlog in het kalme
sfeervolle eerste deel.
Vervolgens de hoop op
beter en positievere
geluiden in het tweede en
derde deel. Vooral het
derde flitsende deel
houdt de hoop op betere
tijden
springlevend.
Colditz Castle Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000438-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000438-010
Composed by Rob Goorhuis.
Set (Score & Parts). 164
pages. Gobelin Music
Publications #GOB
000438-010. Published by
Gobelin Music
Publications
(BT.GOB-000438-010).
Written as a
commission by the
Stichting de Inrichting
foundation of Wijk bij
Duurstede (the
Netherlands), Rob
Goorhuis Requiem voor de
mens (Requiem for Man) on
lyrics by André van
Zwieten was composed in
the year 2001. This
work for choir
andwind-band greatly
impressed the audience,
whilst its composer
remained obsessed by its
war theme.
When
he subsequently heard
that the Rundfunk
Blasorchester from the
German town of Leipzig -a
place not far from
Colditz - was to dedicate
a CDto his work, Rob
Goorhuis got the idea to
process some of the
themes from his Requiem
for Man into an
instrumental composition
about the famous Colditz
castle. a place still
bearing the scars of war.
From 1933 to
1934, the castle was
aSchutzhaftlager. During
the Second World War, it
was used as a prison for
senior officers. From
this prison, many escapes
were undertaken, which
even resulted in the
castle being nicknamed
The Escape School. In the
seventies, a
television-seriesabout
this period made the
castle very well-known
with the public at
large.
The
despondent tone of the
opening theme underscores
the sadness caused by
wars and violence.
Nevertheless the works
ending is hopeful and
triumphant. Peace
iscelebrated, but with
the hope for a lasting
peace sadly remaining a
topical issue to the
present moment.
In
2001 schreef Rob
Goorhuis, op teksten van
André van Zwieten het
Requiem voor de Mens, in
opdracht van de Stichting
de Inrichting uit Wijk
bij Duurstede. Dit
werk voor koor en
harmonie-orkest maakte
grote indruk op het
publiek, terwijl
decomponist bleef
geobsedeerd door het
oorlogs thema.
Toen hij later
hoorde dat het Rundfunk
Blasorchester uit de
Duitse stad Leipzig, een
plaats niet ver van
Colditz, gevraagd was om
een cd te wijden aan zijn
werk, kreeg Rob Goorhuis
het ideeom enkele van de
themas uit zijn Requiem
voor de Mens te verwerken
tot een instrumentale
compositie over de
beroemde kasteel Colditz,
een plaats met nog steeds
de littekens van de
oorlog. Het kasteel
van Colditz heeft in de
historie eenbelangrijke
rol gespeeld. Het
eeuwenoude kasteel
overleefde vele
veldslagen en oorlogen.
In de Tweede Wereldoorlog
diende het kasteel zelfs
als gevangenis voor
geallieerde officieren.
Het aantal ontsnappingen
was echter talrijk en de
geromantiseerdeBritse
TV-serie uit de jaren
zeventig over dat
onderwerp gaf het kasteel
een grote bekendheid.
Het driedelige werk
beschrijft de periode
voor, tijdens en na de
Tweede
Wereldoorlog.
De
angst voor dat wat staat
te gebeuren en het
verdrietvan jaren van
oorlog in het kalme
sfeervolle eerste deel.
Vervolgens de hoop op
beter en positievere
geluiden in het tweede en
derde deel. Vooral het
derde flitsende deel
houdt de hoop op betere
tijden
springlevend.
(16 Bar Audition Excerpts from Stage and Film, Specially Designed for Teen Singe...(+)
(16 Bar Audition Excerpts
from Stage and Film,
Specially Designed for
Teen Singers! Includes
Story Synopsis, Song
Set-up and Audition
Tips). Edited by Lisa
DeSpain. For Voice. Book;
CD; Vocal Collection.
Broadway. 224 pages
