Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute
SKU:
CF.CM9583
Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852).
Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852)
was an Irish poet,
singer, songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music
– Thomas MooreWhen
through life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with
balm the gale sighs
on,Though the flowers
have sunk in death;So,
when pleasure’s
dream is gone,Its memory
lives in Music’s
breath.Music, oh, how
faint, how weak,Language
fades before thy
spell!Why should Feeling
ever speak,When thou
canst breathe her soul so
well?Friendship’s
balmy words may
feign,Love’s are
even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece.
(Four Songs from South Africa). Arranged by Alexander L'Estrange. Choir Secular....(+)
(Four Songs from South
Africa). Arranged by
Alexander L'Estrange.
Choir Secular. For with
Piano (3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Choral Basics.
Multicultural; World.
Published by Faber Music
Composed by Brian Balmages. MOS Performance. MOS Performance Series. Score and...(+)
Composed by Brian
Balmages.
MOS Performance. MOS
Performance Series. Score
and
Part(s). The FJH Music
Company
Inc #98-B1879. Published
by
The FJH Music Company Inc
Cantata
for Sexagesima.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Leichtgesinnte
Flattergeister. Sacred
vocal music, Cantatas,
Special days. Choral
Score. Composed 1724. BWV
181. 8 pages. Duration 14
minutes. Carus Verlag #CV
31.181/05. Published by
Carus Verlag
(CA.3118105).
ISBN
9790007050160. Key: E
minor / b minor.
Language:
German/English.
Sco
re available separately -
see item CA.3118100.
Thoughtless and unstable people Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Vocal Score] Carus Verlag
(Cantata for the Sunday Sexagesima). Composed by Johann Sebastian Bach (1685-175...(+)
(Cantata for the Sunday
Sexagesima). Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For SATB
vocal soli, SATB choir,
flute, oboe, trumpet, 2
violins, viola, basso
continuo. This edition:
Paperbound. German title:
Leichtgesinnte
Flattergeister. Cantatas,
Special days. Level 3.
Vocal score. Language:
German/English. Composed
1724. BWV 181. 28 pages.
Duration 14 minutes.
Published by Carus Verlag
Cantata
for Sexagesima.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Leichtgesinnte
Flattergeister. Sacred
vocal music, Cantatas,
Special days. Single
Part, Viola. Composed
1724. BWV 181. 4 pages.
Duration 14 minutes.
Carus Verlag #CV
31.181/13. Published by
Carus Verlag
(CA.3118113).
ISBN
9790007050214. Key: E
minor / b minor.
Language:
German/English.
Sco
re available separately -
see item CA.3118100.
Arranged by Gwyn Arch. Choir Secular. For with Piano (3-Part Mixed Choir (SAB))....(+)
Arranged by Gwyn Arch.
Choir Secular. For with
Piano (3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Faber Young
Voices. Published by
Faber Music
Cantata
for Sexagesima.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: Paperbound.
German title:
Leichtgesinnte
Flattergeister. Sacred
vocal music, Cantatas,
Special days. Study
score. Composed 1724. BWV
181. 52 pages. Duration
14 minutes. Carus Verlag
#CV 31.181/07. Published
by Carus Verlag
(CA.3118107).
ISBN
9790007050177. Key: E
minor / b minor.
Language:
German/English.
Sco
re available separately -
see item CA.3118100.
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
Chamber Music Piano, Viola SKU: PR.114419750 Composed by Martin Amlin. Sw...(+)
Chamber Music Piano,
Viola
SKU:
PR.114419750
Composed
by Martin Amlin. Sws. Set
of Score and Parts. 12+4
pages. Duration 5
minutes. Theodore Presser
Company #114-41975.
Published by Theodore
Presser Company
(PR.114419750).
ISBN
9781491132296. UPC:
680160681655. 9 x 12
inches.
VERMONT
HARMONY is a 5-minute,
sonically sensual wild
ride (marked Vigorous and
driven in the score) with
unrelenting perpetual
motion through unstable
changing meters. Martin
Amlin continues to enrich
the viola repertory with
this new work for
Michelle LaCourse, who
has recorded many of
Amlin’s works for
MSR Classics.
Cantata
for Sexagesima.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Leichtgesinnte
Flattergeister. Sacred
vocal music, Cantatas,
Special days. Single
Part, Violin 2. Composed
1724. BWV 181. 4 pages.
Duration 14 minutes.
Carus Verlag #CV
31.181/12. Published by
Carus Verlag
(CA.3118112).
ISBN
9790007050207. Key: E
minor / b minor.
Language:
German/English.
Sco
re available separately -
see item CA.3118100.
Orchestra SKU: AP.12-0571541097 Opera in Two Parts. Composed by Ge...(+)
Orchestra
SKU:
AP.12-0571541097
Opera in Two
Parts. Composed by
George Benjamin and text
by Martin Crimp. Full
Orchestra (Full Score);
Larger Works; Performance
Music Ensemble. Faber
Edition. Form: Opera.
20th Century. Score.
Faber Music
#12-0571541097. Published
by Faber Music
(AP.12-0571541097).
ISBN 9780571541096.
English.
Premiered
in 2018, the 90-minute
opera Lessons in Love and
Violence delves into the
dark and turbulent events
of Edward II's life and
death. The opera unfolds
as a taut slow-burning
arch of seven tableaux.
This work boasts
particularly rich string
textures and spectacular
ensemble writing. The
music's relationship to
the drama is often
unstable and seemingly
very spontaneous, but
beneath it all one senses
a rigorous architecture,
unflinchingly guiding the
listener deeper and
deeper into the opera's
disquieting emotional
world. This full score is
a perfect accompaniment
to the previously
published vocal score and
text.
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Ch...(+)
Arranged by Alexander
L'Estrange. Choir
Secular. For with Piano
(3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Choral Basics.
Published by Faber Music
String Quartet No.9 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
String Quartet SKU: HL.14031827 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14031827
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 48 pages. Music
Sales #KP01084. Published
by Music Sales
(HL.14031827).
ISBN
9788759871089.
Danish-English.
Pre
face The three movements
of the quartet may be
perceived as three
different expressions of
an unstable core: an
inherent unrest leads to
frequent changes of
direction. The first
movement is full of
dramatic contrasts: it is
followed by a second
movement, whose basic
mood of meditative rest
is challenged by
occasional centrifugal
utbursts, while the third
movement takes the
inherent conflicts to a
higher level, contrasting
material of introspective
lyricism with excessively
pathetic moods. The final
way out is a retrograde
one, (back) into the
source: through a
constant
accelerando-diminuendo
the piece disappears into
a vanishing point. The
into the source of the
titlemay be visualized as
a reversed
fountain-action: the
broad fan-like spread of
the first movement, a
more coherent-solid
second movement, and
finally - in the third
movement - a return-run,
ever more vehemently,
like a suction into the
spring itself ... The
musical motifs are
varied: there are
traffic-situations (which
I heard!) with stomping
and machine-like rhythms
in different, but
simultaneous tempi, and
there are more abstract
upwards and downwards
half-tone-scales, with
changing accents,
creating glimpses of
melodies. INTO THE
SOURCE, String Quartet
No. 9, was composed on a
double-commission from
the Orion Quartet and the
Vertavo Quartet. The
premiere performances
took places in Santa Fe
in 2002 and in Oslo in
2003. Per Norgard.
Cantata
for Sexagesima.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Leichtgesinnte
Flattergeister. Sacred
vocal music, Cantatas,
Special days. Single
Part, Cello/Double Bass.
Composed 1724. BWV 181. 8
pages. Duration 14
minutes. Carus Verlag #CV
31.181/14. Published by
Carus Verlag
(CA.3118114).
ISBN
9790007050221. Key: E
minor / b minor.
Language:
German/English.
Sco
re available separately -
see item CA.3118100.
SATB choir, piano - Late Intermediate SKU: MN.CH-1174 Composed by Eli Vil...(+)
SATB choir, piano - Late
Intermediate
SKU:
MN.CH-1174
Composed
by Eli Villanueva.
Spirituals. 21st Century.
Octavo. Duration 2
minutes, 50 seconds.
Laurendale Associates
#CH-1174. Published by
Laurendale Associates
(MN.CH-1174).
UPC:
765844005054.
Joshu
a Fit the Battle of
Jerico is one of six
Traditional Spirituals
Eli originally arranged
for Solo Voice and Piano.
The origin of the
spiritual is generally
accredited to the
Christian Slaves who sang
about the message of
Jesus Christ and the Good
News as well as a way to
share their difficult
conditions of slavery
with each other. To honor
the traditions of the
Spiritual, the song
marries the text and
melody of the Traditional
Spiritual with the colors
and harmonies found in a
more contemporary era.
You will notice that many
of the time signatures
within this song have
been changed to create
irregular patterns within
the melody. This is to
create an unstable sense
of the battle, which is
carried on into an
optional written
improvisational section
that grows wildly to an
abrupt end, creating a
picture of a wild battle.
Traditional
Spititual.
For
Two Bass Clarinets in
B-flat - Performance
Score. Composed by
Chaya Czernowin. This
edition: Saddle
stitching. Sheet music.
Woodwind. Classical,
Contemporary. Softcover.
Composed 2009-2010. 8
pages. Duration 2' 30''.
Schott Music #KLB80.
Published by Schott Music
(HL.49045068).
ISBN
9790001174336. UPC:
888680724207.
9.0x12.0x0.058
inches.
This
demanding slow duet for
two bass clarinets in
B-flat combines
expressive melody, abrupt
rhythm changes and
extreme dynamics, giving
this short composition a
turbulent and unstable
character.
Choral SATB Choir SKU: PR.312419050 Composed by Adolphus Hailstork. Octav...(+)
Choral SATB Choir
SKU:
PR.312419050
Composed
by Adolphus Hailstork.
Octavo. Duration 5:30.
Theodore Presser Company
#312-41905. Published by
Theodore Presser Company
(PR.312419050).
ISBN
9781491137895. UPC:
680160692583. 6.875 x
10.5 inches. English.
Psalm
137.
Hailstork’s
setting of this familiar
text mixes unsettling
harmonies and unstable
rhythms, enriched with a
broad palette of choral
textures, to evoke a mood
of separation from
one’s homeland. A
beautiful and haunting
work for advanced
choirs.
The Gospel Train (A Gospel Medley and Classic Spiritual). Arranged by Alexander ...(+)
The Gospel Train (A
Gospel Medley and Classic
Spiritual). Arranged by
Alexander L'Estrange.
Choir Secular. For with
Piano (3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Choral Basics.
Gospel. Published by
Faber Music
By Howard Goodall. Choir Secular. For with Piano (3-Part Mixed Choir (SAB)). Boo...(+)
By Howard Goodall. Choir
Secular. For with Piano
(3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Choral Basics.
Published by Faber Music
(Cantata for the Sunday Sexagesima). Composed by Johann Sebastian Bach (1685-175...(+)
(Cantata for the Sunday
Sexagesima). Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For SATB
vocal soli, SATB choir,
flute, oboe, trumpet, 2
violins, viola, basso
continuo. German title:
Leichtgesinnte
Flattergeister. Cantatas,
Special days. Level 3.
Complete orchestral
parts. Language:
German/English. Composed
1724. BWV 181. Duration
14 minutes. Published by
Carus Verlag
(Four Songs from South Africa). Arranged by Alexander L'Estrange. Choir Secular....(+)
(Four Songs from South
Africa). Arranged by
Alexander L'Estrange.
Choir Secular. For with
Piano (2-Part Choir).
Book; Choral Collection.
Faber Edition: Choral
Basics. Multicultural;
World. Published by Faber
Music