(Instrumental Accompaniments for Ecumenical Hymns). Composed by James Engebretson. Sacred. Score and CD-Rom. 116 pages. Published by Augsburg Fortress

By Albin C Whitworth. (FULL SCORE). Handbell Choir Music. Sacred. Published by Beckenhorst Press.

Composed by Aram Ilyich Khachaturian (1903-1978). Collection for solo piano. Series: Library of Russian-Soviet Music. 32 pages. Published by G. Schirmer, Inc.

By David Saladino. For Choral. National/Emerson Fred Bock. 12 pages. Hal Leonard #NMP304. Published by Hal Leonard

Composed by Philip W. J. Stopford. Catholic Year A Pentecost Sunday; Year A Easter3. Pentecost, 21st Century, Faith. Octavo. Published by MorningStar Music Publishers (MN.50-8961).

SSATTB favorit-chor, 2 violins, 3 trombones, basso continuo, [cappell-chore SATB/SATB]

SKU: CA.2046906

Composed by Heinrich Schutz. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Schutz. Capellchor. Sacred concertos, Sacred vocal music, Easter and Eastertide. Choral Score. SWV 469. 4 pages. Carus Verlag #CV 20.469/06. Published by Carus Verlag (CA.2046906).

ISBN 9790007161408. Text language: Latin.

The Easter concerto Surrexit pastor bonus, for large forces, is based on a Latin responsory for Easter. The work is extant only in handwritten form, and nothing is known regarding the date of composition, although the polychoral design, with two ad libitum tutti choirs (Capellchore) could indicate a temporal proximity to the Psalms of David 1619. On the other hand, the freer treatment of the instruments in particular suggests the Symphoniae sacrae and especially - given the work's large instrumentation - the third part, dated 1650. Score available separately - see item CA.2046900.

SSATTB favorit-chor, 2 violins, 3 trombones, basso continuo, [cappell-chore SATB/SATB]

SKU: CA.2046905

Composed by Heinrich Schutz. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Schutz. Sacred concertos, Sacred vocal music, Easter and Eastertide. Choral Score. SWV 469. Carus Verlag #CV 20.469/05. Published by Carus Verlag (CA.2046905).

ISBN 9790007161392. Text language: Latin.

The Easter concerto Surrexit pastor bonus, for large forces, is based on a Latin responsory for Easter. The work is extant only in handwritten form, and nothing is known regarding the date of composition, although the polychoral design, with two ad libitum tutti choirs (Capellchore) could indicate a temporal proximity to the Psalms of David 1619. On the other hand, the freer treatment of the instruments in particular suggests the Symphoniae sacrae and especially - given the work's large instrumentation - the third part, dated 1650. Score available separately - see item CA.2046900.

SSATTB favorit-chor, 2 violins, 3 trombones, basso continuo, [cappell-chore SATB/SATB]

SKU: CA.2046919

Composed by Heinrich Schutz. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Schutz. Complete orchestral parts. Sacred concertos, Sacred vocal music, Easter and Eastertide. Set of Orchestra Parts. SWV 469. Carus Verlag #CV 20.469/19. Published by Carus Verlag (CA.2046919).

ISBN 9790007143022. Text language: Latin.

The Easter concerto Surrexit pastor bonus, for large forces, is based on a Latin responsory for Easter. The work is extant only in handwritten form, and nothing is known regarding the date of composition, although the polychoral design, with two ad libitum tutti choirs (Capellchore) could indicate a temporal proximity to the Psalms of David 1619. On the other hand, the freer treatment of the instruments in particular suggests the Symphoniae sacrae and especially - given the work's large instrumentation - the third part, dated 1650. Score and parts available separately - see item CA.2046900.

SKU: GI.G-1117

Music of William Averitt. Composed by Cameron LaBarr, Missouri State University Chorale, and William Averitt. GIA ChoralWorks. Music Education. Choral score. GIA Publications #1117. Published by GIA Publications (GI.G-1117).

UPC: 785147011729.

†œHistory is written by the victors…” In societal struggles, those who “come out on top” seem to get to choose what is taught as history. With respect to racial matters in the United States, the struggles of people of color have simply not been a significant part of historical studies in American schools. The immense failure of Reconstruction on Black people in America is the cataclysm that is most pertinent to the retelling of Easter, 1906. Lynchings were a deeply disturbing and immoral method of dominating, primarily, Black people and terrorizing them into submission. Behind these exercises in mob violence lay frequently invented claims of crimes. Easter, 1906 recounts one such event that took place in Springfield, Missouri, over Easter weekend, 1906. Poet Robert Bode has collected material from historical documents of the period and created new poems that reflect upon this tragic event. In turn, Bode’s words are here set to music by composer William Averitt for double choir, spoken narration, piano four-hands, and two percussionists. Performed by the Missouri State University Chorale, conducted by Cameron LaBarr.   A powerful work like this is important because we can easily forget events that have contributed to the lingering blatant and hidden prejudices that exist today. It is through this musical presentation that musicians and audiences can have the tough yet meaningful conversations about how we all can do and be better when relating to others. —Marques L. A. Garrett     Conductor and Composer Learn more about the story behind this project in the video below:.

Viola 1 (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-19

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-19. Published by Breitkopf and Haertel (BR.OB-32034-19).

ISBN 9790004350911. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Violin 1 (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-15

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-15. Published by Breitkopf and Haertel (BR.OB-32034-15).

ISBN 9790004350898. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Chorus (with soloists) and orchestra (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.PB-32034

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Partitur-Bibliothek (Score Library). Cantata; Baroque. Full score. Duration 9'. Breitkopf and Haertel #PB 32034. Published by Breitkopf and Haertel (BR.PB-32034).

ISBN 9790004215678. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Organ (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-11

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-11. Published by Breitkopf and Haertel (BR.OB-32034-11).

ISBN 9790004350881. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Viola 1 (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-20

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-20. Published by Breitkopf and Haertel (BR.OB-32034-20).

ISBN 9790004350928. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Basso (cello/double bass) (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-26

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-26. Published by Breitkopf and Haertel (BR.OB-32034-26).

ISBN 9790004350935. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Chorus and piano (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.EB-32034

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Edition Breitkopf. Cantata; Baroque. Piano/Vocal Score. Duration 9'. Breitkopf and Haertel #EB 32034. Published by Breitkopf and Haertel (BR.EB-32034).

ISBN 9790004186398. 7.5 x 10.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Violin 2 (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-16

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-16. Published by Breitkopf and Haertel (BR.OB-32034-16).

ISBN 9790004350904. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

(solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-54

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-54. Published by Breitkopf and Haertel (BR.OB-32034-54).

ISBN 9790004350966. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

(solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-53

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-53. Published by Breitkopf and Haertel (BR.OB-32034-53).

ISBN 9790004350959. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Composed by Robert A. Hobby (1962-). For Congregation, SATB Choir, Brass Quintet, Timpani, opt. Cymbals, and Organ or opt. Full Orchestra. Cathedral Series. Catholic Year C Most Holy Body and Blood of Christ; Catholic Year C Easter Sunday; Catholic Year C Ascension/Easter7. Christ the King, Building Dedication, Church Anniversary, Ordination/Installation, 21st Century. Moderately Easy. Octavo. Published by MorningStar Music Publishers

645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover. 696 pages. Published by Hal Leonard

645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. Softcover. 696 pages. Published by Hal Leonard

For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Movies. 288 pages. 9x12 inches. Published by Hal Leonard.

(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Shaw. For soprano solo voice, alto solo voice, tenor solo voice, bass solo voice, SATB choir and piano accompaniment. Novello Handel Edition. Baroque, Choral, Christmas and Easter. Difficulty: medium. Vocal score (paperback). Choral notation and piano reduction. 257 pages. Published by Novello and Co Ltd

Trumpet in C and piano - advanced

SKU: CY.CC2871

Composed by Roger T. Petrich. Contemporary. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2871).

Ï»¿Zat ten was commissioned in 2005 by Trumpeter Paul Neebe during the composer's vacation to do ancestral research in the town of Zatten, currently part of Poland.
Roger Petrich writes the following about his Zatten Concerto for Trumpet:
The 'DNA' of this compostion tracks back to my great-grandfather and the tiny Plattdeutsch village where he was born. Zatten, [then] located in the eastern part of Berlin/Brandenburg is in an area of forest and small farms dating back to the 1600's. My grandfather R. T. Petrich, whose initials I bear, was six years old when he, along with his parents, sister, and older brother left Prussia to start a new life in the USA.
My own childhood memories include many visits to the family homestead in Dakota Territory, where I used to play in the barn which hosted many summer dances. The Dakota sky was vast by day, and nights could become magical with the addition of the Northern Lights. Though not a professional musician, my father kept up his trumpet playing all his life. In a special way it was his voice - a sound that deeply imprinted all my growing up years. All of this is mixed together in my Zatten Concerto
The Zatten Concerto is in three movements, the two outer movements faster and the middle is a Largo. This work is appropriate for advanced performers.
The title Zatten (the name of the small village in Germany where his family was located before immigrating to the USA) is spelled out in Morse Code in the very opening eight bars of the work. The Concerto is originally written for Trumpet and String Orchestra, this version using a reduction for Piano.