(Kantate fur den 2. Sonntag nach Epiphanias). By Johann Sebastian Bach (1685-175...(+)
(Kantate fur den 2.
Sonntag nach Epiphanias).
By Johann Sebastian Bach
(1685-1750). Edited by
Doht, Julia. For SATB
Soli, SATB Choir, 2
Recorder, Oboe da caccia,
2 Violin, Viola, Basso
Continuo. BWV 13. Full
score available
separately - see item
CA.3101300. Stuttgart
Urtext editions; Use
during church year:
Epiphany. Part: Organ.
Language: German/English.
Composed 1726. 12 pages.
Duration 21 min
By Charles E. Callahan, Jr. (1951-). For organ, Solo Instrument ( flute, oboe, e...(+)
By Charles E. Callahan,
Jr. (1951-). For organ,
Solo Instrument ( flute,
oboe, english horn,
clarinet, french horn,
violin, viola, cello, or
bassoon). Organ with
Instruments. Communion,
General. Moderately Easy.
Score and parts. 20
pages. Published by
MorningStar Music
Publishers
SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2 c
trumpets, timpani, 2
violins and organ
SKU:
CA.5453013
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa In Hon. Sti
Gotthardi Mh 530. Sacred
vocal music, Masses,
Latin. Single Part,
Cello/Double Bass. MH
530. 16 pages. Duration
40 minutes. Carus Verlag
#CV 54.530/13. Published
by Carus Verlag
(CA.5453013).
ISBN
9790007226176. Language:
Latin.
The names of
Michael Haydn's masses
are associated either
with a specific
commission or with the
composition's dedicatee.
Thus, Haydn composed the
Missa in honorem Sti.
Gotthardi, also known as
the Admont Mass, for the
Admont Abbey located in
the region of Styria,
Austria, where Gotthard
Kuglmayr was the Abbot.
The mass combines formal
concentration with
liturgical function. The
songlike melody, the
unity of the motivic
material, and the
balanced harmony of
solemn and lyrical
passages show how
intensively Haydn
concerned himself with
the genre. Due to its
length and its
orchestration the mass
can be considered a type
of missa solemnis. Fugues
and fugal movements are
completely missing from
the Missa Admontis as is
any kind of contrapuntal
(including imitative)
composition. In so doing,
Haydn assured that the
required understanding of
the liturgical text would
be achieved. Score and
part available separately
- see item
CA.5453000.
SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2 c
trumpets, timpani, 2
violins and organ
SKU:
CA.5453019
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa In Hon. Sti
Gotthardi Mh 530. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. MH 530. Duration
40 minutes. Carus Verlag
#CV 54.530/19. Published
by Carus Verlag
(CA.5453019).
ISBN
9790007145378. Language:
Latin.
The names of
Michael Haydn's masses
are associated either
with a specific
commission or with the
composition's dedicatee.
Thus, Haydn composed the
Missa in honorem Sti.
Gotthardi, also known as
the Admont Mass, for the
Admont Abbey located in
the region of Styria,
Austria, where Gotthard
Kuglmayr was the Abbot.
The mass combines formal
concentration with
liturgical function. The
songlike melody, the
unity of the motivic
material, and the
balanced harmony of
solemn and lyrical
passages show how
intensively Haydn
concerned himself with
the genre. Due to its
length and its
orchestration the mass
can be considered a type
of missa solemnis. Fugues
and fugal movements are
completely missing from
the Missa Admontis as is
any kind of contrapuntal
(including imitative)
composition. In so doing,
Haydn assured that the
required understanding of
the liturgical text would
be achieved. Score and
parts available
separately - see item
CA.5453000.
SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2 c
trumpets, timpani, 2
violins and organ
SKU:
CA.5453005
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa In Hon. Sti
Gotthardi Mh 530. Sacred
vocal music, Masses,
Latin. Choral Score. MH
530. 16 pages. Duration
40 minutes. Carus Verlag
#CV 54.530/05. Published
by Carus Verlag
(CA.5453005).
ISBN
9790007130121. Language:
Latin.
The names of
Michael Haydn's masses
are associated either
with a specific
commission or with the
composition's dedicatee.
Thus, Haydn composed the
Missa in honorem Sti.
Gotthardi, also known as
the Admont Mass, for the
Admont Abbey located in
the region of Styria,
Austria, where Gotthard
Kuglmayr was the Abbot.
The mass combines formal
concentration with
liturgical function. The
songlike melody, the
unity of the motivic
material, and the
balanced harmony of
solemn and lyrical
passages show how
intensively Haydn
concerned himself with
the genre. Due to its
length and its
orchestration the mass
can be considered a type
of missa solemnis. Fugues
and fugal movements are
completely missing from
the Missa Admontis as is
any kind of contrapuntal
(including imitative)
composition. In so doing,
Haydn assured that the
required understanding of
the liturgical text would
be achieved. Score
available separately -
see item CA.5453000.
SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2 c
trumpets, timpani, 2
violins and organ
SKU:
CA.5453003
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa In Hon. Sti
Gotthardi Mh 530. Sacred
vocal music, Masses,
Latin. Vocal score. MH
530. 72 pages. Duration
40 minutes. Carus Verlag
#CV 54.530/03. Published
by Carus Verlag
(CA.5453003).
ISBN
9790007094348. Language:
Latin.
The names of
Michael Haydn's masses
are associated either
with a specific
commission or with the
composition's dedicatee.
Thus, Haydn composed the
Missa in honorem Sti.
Gotthardi, also known as
the Admont Mass, for the
Admont Abbey located in
the region of Styria,
Austria, where Gotthard
Kuglmayr was the Abbot.
The mass combines formal
concentration with
liturgical function. The
songlike melody, the
unity of the motivic
material, and the
balanced harmony of
solemn and lyrical
passages show how
intensively Haydn
concerned himself with
the genre. Due to its
length and its
orchestration the mass
can be considered a type
of missa solemnis. Fugues
and fugal movements are
completely missing from
the Missa Admontis as is
any kind of contrapuntal
(including imitative)
composition. In so doing,
Haydn assured that the
required understanding of
the liturgical text would
be achieved. Score
available separately -
see item CA.5453000.
(nach Worten der Heiligen Schrift). By Johannes Brahms (1833-1897). Arranged by ...(+)
(nach Worten der Heiligen
Schrift). By Johannes
Brahms (1833-1897).
Arranged by Johannes
Brahms. For Soli SB, SATB
Choir, Piccolo, 2 Flute,
2 Oboe, 2 Clarinet, 2
Bassoon, 4 Horn, 2
Trumpet, 3 Trombone,
Tuba, 3 Timpani, Harp, 2
Violin, Viola, Cello,
Contrabass, [Organ]. This
edition: paperbound. Full
score available
separately - see item
CA.2705500. Requiem;
Occasions: Mourning,
Death; Use during church
year: End of the church
year. Piano/Vocal score.
Language: German. 45. 96
pages. Duration 70 min
(nach Worten der Heiligen Schrift). By Johannes Brahms (1833-1897). Arranged by ...(+)
(nach Worten der Heiligen
Schrift). By Johannes
Brahms (1833-1897).
Arranged by Johannes
Brahms. For Soli SB, SATB
Choir, Piccolo, 2 Flute,
2 Oboe, 2 Clarinet, 2
Bassoon, 4 Horn, 2
Trumpet, 3 Trombone,
Tuba, 3 Timpani, Harp, 2
Violin, Viola, Cello,
Contrabass, [Organ]. This
edition: paperbound.
Requiem; Occasions:
Mourning, Death; Use
during church year: End
of the church year.
Score. Language: German.
45. 256 pages. Duration
70 min
Composed by Paul Manz (1919-). Arranged by Benjamin M. Culli. For Solo Instrumen...(+)
Composed by Paul Manz
(1919-). Arranged by
Benjamin M. Culli. For
Solo Instrument (Flute,
Oboe, Violin, Clarinet,
Tenor Saxophone, or
Trumpet) and Keyboard
(Organ or Piano). 21st
Century. Moderately Easy.
Published by MorningStar
Music Publishers
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
By Hal H. Hopson. For SATB choir and Organ, with opt. Oboe, Flute, or Violin. Le...(+)
By Hal H. Hopson. For
SATB choir and Organ,
with opt. Oboe, Flute, or
Violin. Lent. Level:
Moderately Easy. Octavo.
Published by MorningStar
Music Publishers.
Composed by Jean Sibelius (1865-1957). Arranged by J. Michael Joncas. Tune Nam...(+)
Composed by Jean Sibelius
(1865-1957). Arranged by
J.
Michael Joncas. Tune
Name:
Finlandia. Sacred.
Octavo. 12
pages. GIA Publications
#9114. Published by GIA
Publications
Soloists [AT/S], Mixed Choir [SATB], violin, oboe and organ SKU: BT.SCHBB5500...(+)
Soloists [AT/S], Mixed
Choir [SATB], violin,
oboe and organ
SKU:
BT.SCHBB5500253
Choral cantata No. 3
for Good Friday.
Composed by Max Reger.
Set of Parts. 5 pages.
Bote & Bock
#SCHBB5500253. Published
by Bote & Bock
(BT.SCHBB5500253).
Soloists [AT/S], Mixed Choir [SATB], violin, oboe and organ SKU: BT.SCHBB5500...(+)
Soloists [AT/S], Mixed
Choir [SATB], violin,
oboe and organ
SKU:
BT.SCHBB5500252
Choral cantata No. 3
for Good Friday.
Composed by Max Reger.
Score Only. 16 pages.
Bote & Bock
#SCHBB5500252. Published
by Bote & Bock
(BT.SCHBB5500252).
Composed by Michael Burkhardt. Catholic Year C Easter5; Year C Pentecost25; Cath...(+)
Composed by Michael
Burkhardt. Catholic Year
C Easter5; Year C
Pentecost25; Catholic
Year A Ordinary14; Year A
Proper 24 (29); Catholic
Year A Ordinary29. 21st
Century. Choral score.
Published by MorningStar
Music Publishers
(MN.60-7014A).
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: paperbound. BWV
102. Sacred vocal music,
Cantatas. Study score.
Composed 1726. BWV 102.
84 pages. Duration 24
minutes. Carus Verlag #CV
31.102/07. Published by
Carus Verlag
(CA.3110207).
ISBN
9790007047382. Key: G
minor / c minor.
Language:
German/English.
In
1726 Johann Sebastian
Bach performed a series
of cantatas by his
Meiningen cousin Johann
Ludwig, then continued
this series with his own
works, but remained
faithful to the textual
models used his cousin: a
Meiningen cycle of texts
by an unknown author from
the early 18th century.
All these texts share the
characteristic of
including two quotations
from the bible: one from
the Old Testament at the
beginning, and another
from the New Testament in
the middle. These
cantatas include Herr,
deine Augen sehen nach
dem Glauben BWV 102. The
opening chorus in several
sections is one of Bach's
masterpieces of choral
composition. The cantata
is also one of those
works on which Bach's
later reputation was
based: performances are
documented from 1776 in
Hamburg and in Berlin by
Zelter's Sing-Akademie
from 1813 onwards. In
1830 it was one of the
very first cantatas by
Bach to appear in print.
Score available
separately - see item
CA.3110200.
(Kantate zum 12. Sonntag nach Trinitatis). By Johann Sebastian Bach (1685-1750)....(+)
(Kantate zum 12. Sonntag
nach Trinitatis). By
Johann Sebastian Bach
(1685-1750). Edited by
Grischkat, Hans. For Soli
SATB, SATB Choir, 3
Trumpets, Timpani, 2
Oboes, Violin solo,
Strings, Organ. BWV 137.
Full score available
separately - see item
CA.3113700. Cantatas;
Stuttgart Urtext
editions; Use during
church year: Pentecost.
Level 3. Part: Violin 2.
Language: German/English.
Composed 1725. 4 pages.
Duration 18 min
