2 solo tenor voice, solo baritone voice, speaker, Mixed choir: SSTTBB, orchestra...(+)
2 solo tenor voice, solo
baritone voice, speaker,
Mixed choir: SSTTBB,
orchestra (Tenor solo
(2), Baritone solo,
Speaker, Mixed choir:
SSTTBB, Orchestra)
SKU: BA.BA05447
Lyric monodrama in six
parts. Composed by
Hector Berlioz. Edited by
Peter Bloom. This
edition: complete
edition, urtext edition.
Linen. New Berlioz
Edition (Neue
Berlioz-Ausgabe - NBE)
Volume 7. Complete
edition, anthology. Hol.
55. Baerenreiter Verlag
#BA05447_00. Published by
Baerenreiter Verlag
(BA.BA05447).
ISBN
9790006471461. 33.1 x 26
cm inches. Text Language:
French. Translation:
Gerard de Nerval. Hector
Berlioz.
Llio was
composed during Berlioz's
stay in Italy in 1831. In
April of that year he set
out from Rome, where he
held a scholarship as
winner of the Prix de
Rome, and travelled as
far as Nice on hearing
that his fiancee Camille
Moke had rejected him in
favour of another suitor.
He had intended to return
to Paris to exact
revenge, but then he
abandoned his plan and
instead spent three weeks
in Nice, returning in
stages to Rome. On this
return journey he
conceived the idea of a
semi-theatrical work that
combined music and
monologues to express the
idea of returning to life
after a profound
traumatic experience.
The composition
was finished in Rome in
Iune 1831. In the spring
of 1832, while staying
with his parents in
Dauphin, Berlioz copied
the orchestral and vocal
parts, and the work was
first performed in
conjunction with the
Symphonie fantastique at
the Paris Conservatoire
on 9 December 1832. It
was heard again three
weeks later and again on
3 May 1835.
While
designated as the second
part of the Episode in
the Life of an Artist,
Lelio can never- theless
be performed on its own,
without the Symphonie
fantastique to precede
it.
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
Composed by Lynn Shaw
Bailey. Harold Flammer
WorshipSongs Jr.
Children, Children'S
Choir, Concert, Easter,
General Worship, Sacred.
Octavo. 12 pages.
Duration 139 seconds.
Published by Shawnee
Press (HL.527061).
ISBN 9781705166321.
UPC: 196288075059.
6.75x10.5x0.029 inches.
John 20:1-18, Luke
24:1-6, Matthew
28:5-7.
With words
of celebration and music
that sparkles, the joy of
Christ's resurrection
fills this anthem from
start to finish. A brief
snippet of the hymn tune,
LLANFAIR, along with its
acclamation of
“alleluias,â€
heightens the sense of
jubilation and praise.
Optional glockenspiel or
handbells provide a
perfect addition for
Easter worship.
Chorus (with soloists) and piano (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2....(+)
Chorus (with soloists)
and piano (solos: SSTB -
choir: SATBSATB - 1.2.0.2
- 2.2.3.0 - timp - org -
str)
SKU:
BR.EB-8654
Urtext
- Completion.
Composed by Wolfgang
Amadeus Mozart. Edited by
Clemens Kemme. Arranged
by Clemens Kemme. Choir;
Softbound. Edition
Breitkopf. The Missa in c
was so dear to Mozart
that he cited it as
evidence of the reality
of my vow to marry his
beloved Constanze and to
complete the only
half-finished mass.
Nevertheless, one of
Mozart's greatest
masterpieces remained a
torso. Mass; Classical.
Piano/Vocal Score. 116
pages. Duration 52'.
Breitkopf and Haertel #EB
8654. Published by
Breitkopf and Haertel
(BR.EB-8654).
ISBN
9790004184882. 7.5 x 10.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Chorus (with soloists)
and orchestra (solos:
SSTB - choir: SATBSATB -
1.2.0.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.PB-5596-07
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
The
Missa in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Study Score.
188 pages. Duration 52'.
Breitkopf and Haertel #PB
5596-07. Published by
Breitkopf and Haertel
(BR.PB-5596-07).
ISBN
9790004214060. 6.5 x 9
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Chorus (with soloists)
and orchestra (solos:
SSTB - choir: SATBSATB -
1.2.0.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.PB-5562
Urtext
- Completion.
Composed by Wolfgang
Amadeus Mozart. Edited by
Clemens Kemme. Arranged
by Clemens Kemme. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
The
Missa in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Full score.
188 pages. Duration 52'.
Breitkopf and Haertel #PB
5562. Published by
Breitkopf and Haertel
(BR.PB-5562).
ISBN
9790004213728. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Guitar (hawaiian/slack key) - Intermediate SKU: MB.99801M Composed by Joh...(+)
Guitar (hawaiian/slack
key) - Intermediate
SKU: MB.99801M
Composed by John Fahey.
Saddle-stitched, Blues,
Solos. Grossman Audio.
Style. Book and online
audio. 56 pages. Mel Bay
Publications, Inc
#99801M. Published by Mel
Bay Publications, Inc
(MB.99801M).
ISBN
9781513460949. 8.75 x
11.75 inches.
John
Fahey was a pioneer in
composing and arranging
guitar solos in open
tunings. In this lesson
series for the
intermediate guitarist,
John teaches a wide
variety of techniques,
musical textures and
styles. The book includes
the notation and
tablature for the lessons
and access to online
audio featuring
phrase-by-phrase
instruction. LESSON ONE:
 Open G tuning: On
the Sunny Side of the
Ocean, Spanish Two
Step and It Came
Upon A Midnight
Clear. St. Louis
Blues played in a
dropped D tuning. LESSON
TWO: Â In this lesson
John explores the
possibilities of playing
in an open C tuning.
The Union Pacific
has a distinct blues
quality, Requiem For
John Hurt has an
Eastern feel. Simplicity
often creates beauty and
John does this with his
version of Auld Lang
Syne. LESSON THREE:
 This lesson
concentrates on John's
slide guitar playing.
Steamboat Gwine Round
the Bend played in
open G demonstrates many
of John's unique
technical ideas. The
Christmas carol Silent
Night is presented in
the slide style. John's
popular arrangement of
Poor Boy A Long Way
From Home played in
open D tuning finishes
the series. Includes
access to online
audio.
Choir SKU: WD.080689396236 Composed by Joshua Bryant Spacht. Arranged by ...(+)
Choir
SKU:
WD.080689396236
Composed by Joshua Bryant
Spacht. Arranged by
Joshua Spacht. Choral.
Sacred Anthem,
Eastertide. Octavo. Word
Music #080689396236.
Published by Word Music
(WD.080689396236).
UPC:
080689396236.
From
the album, We Will Not
Be Shaken, from
Bethel Music, comes a
song of power and praise
expressing hallelujahs to
our Risen
Lord...Hallelujah! It is
finished. All to You our
highest praise. Painting
a strong visual image of
Christ's atoning work on
the cross, this anthem,
both beautiful and
strong, tells us that God
drowns our sin in Seas of
Crimson.
Book/Online Audio Bassoon SKU: HL.400103 Music Minus One Bassoon. ...(+)
Book/Online Audio Bassoon
SKU: HL.400103
Music Minus One
Bassoon. Composed by
Various. Sheet music.
Music Minus One.
Classical, Contest.
Softcover Audio Online.
24 pages. Music Minus One
#MMO4601. Published by
Music Minus One
(HL.400103).
ISBN
9781596156463. UPC:
884088161101.
9.0x12.0x0.098
inches.
(Piano/Vocal/Guitar). By Snow Patrol. For voice, piano and guitar (chords only)....(+)
(Piano/Vocal/Guitar). By
Snow Patrol. For voice,
piano and guitar (chords
only). This edition:
Piano/Vocal/Guitar.
Personality Book;
Piano/Vocal/Chords. Faber
Edition. Indie Rock,
Alternative Rock and Pop
Rock. Songbook. Vocal
melody, lyrics, piano
accompaniment, chord
names and guitar chord
diagrams. 75 pages.
Published by Faber Music
Choral (SATB divisi) SKU: HL.215263 For SATB Acappella Divisi. Com...(+)
Choral (SATB divisi)
SKU: HL.215263
For SATB Acappella
Divisi. Composed by
Marcel Chyrzynski. PWM.
Classical, General
Worship, Sacred. Octavo.
20 pages. Duration 360
seconds. Polskie
Wydawnictwo Muzyczne
#11687010. Published by
Polskie Wydawnictwo
Muzyczne (HL.215263).
8.25x11.5
inches.
I finished
Psalm 23 Dominus regit me
(The Lord Is My
Shepherd), which inspired
me musically, in 2013.
This prayer of praise,
being a radical act of
trust in God, as Pope
Benedict XVI once said,
complements Credo in unum
Deum. I was particularly
moved by the personal
tone of the Psalm author
and by the landscape of
life symbols that he
painted. The psalmist,
describing ancient
nomads, compares God to a
shepherd taking care of
his flock. It is a
hopeful metaphor of a
journey in the future
with kind and loving God
as a guide - 'Even though
I walk through the valley
of the shadow of death, I
fear no evil, for You are
with me.' By interpreting
the text with music, I
wanted to avoid emotional
directness, and to
present the 'trust' in a
contemplative way, as if
it were a kind of a
prayer - meditation.
-Marcel Chyrzynski,
translated by Monika
Rokicka.
Orchestra SKU: HL.14010856 Composed by Manuel de Falla. Music Sales Ameri...(+)
Orchestra
SKU:
HL.14010856
Composed
by Manuel de Falla. Music
Sales America. Classical.
Score. Composed 2002.
Chester Music #CH61022.
Published by Chester
Music (HL.14010856).
ISBN 9780711960879.
0.575
inches.
Fuego Fatuo has
an interesting history.
Manuel De Falla
(1876-1946), often
regarded as the greatest
Spanish composer of the
20th century, wanted to
write an opera based
around themes from
Chopin, whomhe greatly
admired. The stage work
was never finished;
however, several attempts
have been made to arrange
the work for orchestra,
most successfully by the
Catalan conductor
Antoni
Ros-Marba.
Des
pite its history,this
orchestral suite is far
from being a mere
mish-mash of Chopin
melodies; it is more of a
meditation on Chopin's
work in general, with the
focus on the harmonic and
textural elements which
De Falla drew
from his work.It forms a
fascinating insight into
the mind of a great
musician.
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-15. Published by
Breitkopf and Haertel
(BR.OB-5562-15).
ISBN
9790004342282. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 24
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-16. Published by
Breitkopf and Haertel
(BR.OB-5562-16).
ISBN
9790004342299. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
Folder.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Set of parts.
116 pages. Duration 52'.
Breitkopf and Haertel #OB
5562-30. Published by
Breitkopf and Haertel
(BR.OB-5562-30).
ISBN
9790004342329. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-19. Published by
Breitkopf and Haertel
(BR.OB-5562-19).
ISBN
9790004342305. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-26. Published by
Breitkopf and Haertel
(BR.OB-5562-26).
ISBN
9790004342312. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Organ (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str) ...(+)
Organ (solos: SSTB -
choir: SATBSATB - 1.2.0.2
- 2.2.3.0 - timp - org -
str)
SKU:
BR.OB-5562-11
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by C. M.
and Kemme Grunert. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 32
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-11. Published by
Breitkopf and Haertel
(BR.OB-5562-11).
ISBN
9790004343548. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 24
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-12. Published by
Breitkopf and Haertel
(BR.OB-5562-12).
ISBN
9790004344460. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Choir SKU: HP.C6026C Composed by Keith, Kristyn Getty, and Stuart Townend...(+)
Choir
SKU:
HP.C6026C
Composed by
Keith, Kristyn Getty, and
Stuart Townend. Arranged
by Lloyd Larson. Piano
with Optional Rhythm &
Handbells. General
Worship, Mission, Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C6026C.
Published by Hope
Publishing Company
(HP.C6026C).
UPC:
763628960261. By Keith
Getty, Kristyn Getty &
Stuart Townend. Hebrew
11, Psalm 145:4, Psalm
145:13, Psalm
145:21.
Popular
worship song by Keith
Getty, Kristyn
Getty & Stuart
Townend This powerful
hymn from Keith Getty and
Stuart Townend is driven
with both energy and with
a text about the mission
of Church: By faith we
see the hand of God, By
faith the prophets saw a
day when the longed-for
Messiah would appear, By
faith the church was
called to go to the lost.
The children of promise
are called to finish the
work and walk by faith.
Lloyd Larson pairs it
with the refrain of Great
Is Thy Faithfulness,
heightening the message.
Rhythm Parts: Conductor's
Score, Piano, Acoustic
Guitar, Percussion, Synth
I & II & Electric
Bass.
Choral (SSATBB) SKU: HL.14047788 SSATBarB and Soprano Saxophone. C...(+)
Choral (SSATBB)
SKU:
HL.14047788
SSATBarB and Soprano
Saxophone. Composed
by John Harle. Choral.
Classical. Octavo. 8
pages. Chester Music
#CH84051. Published by
Chester Music
(HL.14047788).
8.25x11.75
inches.
It Is
Finished is a work for
SSATBarB Choir and
Soprano Saxophone,
composed by John Harle .
This is the Vocal Score.
The piece was
commissioned by Sam
Corkin and Siglo de Oro,
with the first
performance taking place
at The Victoria
International Festival of
Music, Malta on 11th July
2015. The biblical texts
are from John 19/30 and
Isaiah 53. A separate
Saxophone part is
available.
For voice. Format: vocal songbook (spiral bound). With vocal score and chord nam...(+)
For voice. Format: vocal
songbook (spiral bound).
With vocal score and
chord names. Gospel and
Country. 9x12 inches.
Published by
Brentwood-Benson Music
Publishing. Click here
for Listening
Cassette
Saint Francis of Assisi is an opera in 3 acts by Olivier Messiaen. This volume i...(+)
Saint Francis of Assisi
is an opera in 3 acts by
Olivier Messiaen. This
volume is part of the
edition that includes the
books with the full
Orchestra scores, as well
as the explanations,
analysis and comments on
each tableau. It is
focused on the ?Act II,
Tableau 4. L?Ange
voyageur? which describes
the appearance of the
?Traveller Angel? to
Saint Francis. This
tableau is introduced by
each of the themes of
Brothers Leon, Elie and
Bernard and the theme of
Philemon, the bird. It
opens as the Brothers are
confronted to the Angel
but don?t recognise him
straight away except for
Brother Bernard, who
reacts wisely. The Angel
then requests to talk to
Father Francis, and the
tableau finishes,
introducing the following
part: ?Act II, Tableau 5.
L?ange musicien?. Within
this tableau 4, birdsong
can be heard that is
reminiscent of Messiaen's
'Bird Catalogue'
collection. Based on the
life of Saint Francis of
Assisi, this opera is set
in Italy and is composed
as per below: Act I: 1.
La croix 2. Les laudes 3.
Le baiser au lepreux Act
II 4. L?ange voyageur 5.
L?ange musicien 6. Le
preche aux oiseaux Act II
7. Les stigmates 8. La
mort et la nouvelle vie
This opera was played at
the Paris Opera in 1983.
Olivier Messiaen
(1908-1992) was a French
organist and composer
passionate about
Ornithology and one of
the most important
composers of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Bird Catalogue' in 7
volumes and the 'Treatise
on rhythm, colour and
ornithology' in 7
volumes.
(A Worship Event Lifting Up the Name of Jesus). Arranged by Gary Rhodes & Tim Ca...(+)
(A Worship Event Lifting
Up the Name of Jesus).
Arranged by Gary Rhodes &
Tim Cates. For SATB
choir. This edition:
Paperback. Musical. Adult
Easter Musical.
Multicultural and Sacred.
Moderate. Book. 144
pages. Duration 50
minutes. Published by
Lillenas Publishing
Company