Composed by Gary Edwards. For string orchestra. Pathways Series. Grade 3. Full set. Duration 3 minutes, 45 seconds. Published by Imagine Music

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Chamber Music Piano, soprano Saxophone

SKU: PR.114419290

Composed by Chen Yi. Edited by Chen Yi. Arranged by Wong Tak Chiu. Sws. Score and parts. 44 pages. Duration 20 minutes. Theodore Presser Company #114-41929. Published by Theodore Presser Company (PR.114419290).

ISBN 9781491135235. UPC: 680160676118. 9 x 12 inches.

Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, my Chinese Folk Dance Suite is written for violin solo and orchestra, and premiered by The Women's Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco. Inspired by various Chinese traditional folk dances, I've composed three movements in the suite: 1) Lion Dance. Traditionally, people dance with richly decorated hand made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In the composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from traditional Guangdong Music tune and Chaozhou Music tune ; 2) YangKo. Originated in northern China, it's a major folk dance form in mass performance popularized in the country. In YangKo performance, people always play rhythmic patterns on the drums hung around their waists while singing and dancing. In my second movement, I have imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non-pitch syllables in different layers as the soft background, to imitate the percussion sound which produces the ever going pulse. 3) Muqam. It is a large scale traditional music and dance form from Uygur nationality in Xinjiang province, originated in the 15th century. In my third movement, I keep the meter of seven eight and the melodic style of Muqam music. The fiery dancing gesture cumulates the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines. Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 French horns in F, 2 trumpets in Bb, 3 trombones, percussion 1 (3 congas, low tom-tom, temple block, paddle castanets), percussion 2 (snare drum, 6 small Beijing opera gong, 12 big Beijing opera gong, crotales, tambourine), percussion 3 (suspended cymbal, a pair of 6 Chinese cymbals, bass drum), solo violin, violins I, violins II, violas, cellos and double basses. Duration is about 16 minutes. The work is recorded on Bis [CD-1352] and released in 2003, performed by Cho-Liang Lin and the Singapore Symphony Orchestra, cond. by Lan Shui. Reduction for B-flat soprano saxophone and piano by Wong Tak Chiu (2017) and edited by Chen Yi (2018) The second movement YangKo is premiered by Dr. Wong and Korak Lerpibulchai at the Singapore Saxophone Symposium on 8/13/2017. The American premiere of the saxophone and piano reduction version of Chinese Folk Dance Suite is given by Chi Him Chik and Hao Yin at the Society for American Music National Conference in Kansas City, MO on 3/2/2018.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS132F

Composed by Nicolás Humberto Repetto. Sws. Cas. Full score. 8 pages. Carl Fischer Music #CAS132F. Published by Carl Fischer Music (CF.CAS132F).

ISBN 9781491157503. UPC: 680160916085. 9 x 12 inches.

Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey. Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!.
Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey.Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS132

Composed by Nicolás Humberto Repetto. Folio. Cas. Set of Score and Parts. 8+8+8+5+5+5 pages. Duration 3 minutes, 7 seconds. Carl Fischer Music #CAS132. Published by Carl Fischer Music (CF.CAS132).

ISBN 9781491157688. UPC: 680160916269. 9 x 12 inches.

Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey. Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!.
Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey.Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS57

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+4+16+10+10+10+4+12 pages. Carl Fischer Music #YAS57. Published by Carl Fischer Music (CF.YAS57).

ISBN 9780825866890. UPC: 798408066895. 8.5 X 11 inches. Key: G major.

This is a sweeping new original composition in a subto Scottish style from popular composer Alan Lee Silva. Just another one of the pieces that always seem to flow effortlessly from his talented pen. This is an excellent piece for any contest or festival.
This Scottish-flavored, uptempo piece in has a lilting, jubilant-feel throughout. Highland Celebration is  built around two rhythmic subdivisions: two groups of three eighth notes per measure and three groups of two eighth notes per measure. Have the ensemble distinguish between the two subdivisions by tapping each one separately. Make an exercise of the rhythm in mm. 1–2 in Violin 1 to facilitate playing the different rhythms precisely: (1 2 3 - 4 5 6) and (1 2 - 3 4 - 5 6). Rehearsing four- to eightmeasure sections under tempo will aid in tightening these rhythms and solidifying pitch.The sections to concentrate on are: mm. 17–24 and mm. 33–40 to make sure that Violins I and II and Cello are playing together; mm. 33–40, to focus on the Violin 1 and Violin 2 unisons and couplings; and mm. 57–62, where the quarter-note subdivisions are emphasized. The piece is book-ended with the introduction material which always begins quietly and builds. The ensemble at m. 79 starts with tutti scalar figures and increases in intensity to the final accented measures at m. 83. Written in AABA form with a double bridge at m. 45, the overall feeling is dance-like and festive.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS157F

Composed by Nicolás Humberto Repetto. Cas. Full score. Duration 2 minutes, 57 seconds. Carl Fischer Music #CAS157F. Published by Carl Fischer Music (CF.CAS157F).

ISBN 9781491165423. UPC: 680160924332. Key: D minor.

Journey back to ancient Rome in this powerful string orchestra work depicting the strength and reach of the Roman armies through the eyes of a weathered centurion (a centurion is the equivalent of an Army captain). The work begins with a full statement of the Centurion motif in the high strings which should be played with power and strength while in the rhythmic marching element (depicting the Roman Army) in the low strings propels us forward. The lyrical sections at measures 13 through 32 in the viola and cello sections should be expressive and maintain that powerful sound first established in the violins at the beginning of the piece. From mm. 32-42, a  torrent of triplets drives toward a grander gesture of the Centurion motif in the violins and viola sections while the low strings maintain momentum and rhythmic precision. The piece continues to a more solemn restatement of the motif, a section which requires a great deal of expressive playing and vibrato, as the centurion reminisces about his accomplishments, before launching into one last battle from m. 59 to the end.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS157

Composed by Nicolás Humberto Repetto. Cas. Set of Score and Parts. Duration 2 minutes, 57 seconds. Carl Fischer Music #CAS157. Published by Carl Fischer Music (CF.CAS157).

ISBN 9781491165027. UPC: 680160923939. Key: D minor.

Journey back to ancient Rome in this powerful string orchestra work depicting the strength and reach of the Roman armies through the eyes of a weathered centurion (a centurion is the equivalent of an Army captain). The work begins with a full statement of the Centurion motif in the high strings, which should be played with power and strength while in the rhythmic marching element (depicting the Roman Army) in the low strings propels us forward. The lyrical sections at mm. 13 through 32 in the viola and cello sections should be expressive and maintain that powerful sound first established in the violins at the beginning of the piece. From mm. 32–42, a  torrent of triplets drives toward a grander gesture of the Centurion motif in the violins and viola sections while the low strings maintain momentum and rhythmic precision. The piece continues to a more solemn restatement of the motif, a section which requires a great deal of expressive playing and vibrato, as the centurion reminisces about his accomplishments, before launching into one last battle from m. 59 to the end.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Vespers (1610) by Claudio Monteverdi (1567-1643). Arranged by Jeffrey Kurtzman. For SSTTBB soloists, SATTB chorus, orchestra (2/3 violins, 3 trumpets in D, 1 trumpet in B flat, 2/3 violas, 2 cellos, 1 double bass, 3 trombones, 1 bass trombone, 2 recorders, 2 flutes). Mixed Voices. Classic Choral Works. Standard Choral Works. Performing score. 288 pages. Duration 90'. Published by Oxford University Press

SATB choir, organ accompaniment, violin 1, violin 2, cello, trombone 1, trombone 2 - Intermediate

SKU: GI.G-7177

Parvulus filius / Behold the Little Child. Composed by Franz Schneider. Edited by Jane Hettrick. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Christmas Day. Ars Antiqua Series. Sacred. Octavo. 16 pages. GIA Publications #7177. Published by GIA Publications (GI.G-7177).

UPC: 785147717706. English, Latin. Text source: Isaiah 9:6, Latin Vulgate, alt.; Translation: Jane Hettrick. Scripture: Isaiah 9:6.

The text, Isaiah 9:6, is found as the offertory for Christmas in the Roman Missal. The music is pure classical period—think Haydn, to whom this piece, incidentally, has been wrongly attributed. Scored for organ and choir, with three strings and two trombones, it includes both Latin and English texts. SATB. GIA is pleased to offer this edited and translated version of the Christmas offertory Parvulus filius by Franz Schneider.  Based on research from the Melk archive of the Benedictine monastery in Lower Austria, Jane Hettrick has prepared a fantastic edition of this little-known historical gem.  The text is provided in both Latin and English, and a continuo of two violins, cello, and two trombones (which double the alto and tenor voices) is also available.  Editorial slurs and articulations are also provided.

Recorder solo, 9 violins, 3 violas, 2 cellos, 1 contrabass, 2 flutes (solo: rec - 2.0.0.0 - 0.0.0.0 - str: 4.4.3.2.1 - offstage instruments: vl.va)

SKU: BR.PB-5431-07

Black Earth / Tierra negra. Composed by Jose Maria Sanchez-Verdu. Orchestra; stapled. Partitur-Bibliothek (Score Library). World premiere: Dresden, Dresdner Philharmonie, June 3, 2016Commissioned by Dresdner Philharmonie during the Composer-in-residence season 2015/16. Solo concerto; New music (post-2000). Study Score. Composed 2015/16. 36 pages. Duration 14'. Breitkopf and Haertel #PB 5431-07. Published by Breitkopf and Haertel (BR.PB-5431-07).

ISBN 9790004212783. 9 x 12 inches.

World premiere: Dresden, Dresdner Philharmonie, June 3, 2016 Commissioned by Dresdner Philharmonie during the Composer-in-residence season 2015/16.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 1

SKU: CF.FAS129

Composed by Todd Parrish. Set of Score and Parts. Duration 1 minute, 50 seconds. Carl Fischer Music #FAS129. Published by Carl Fischer Music (CF.FAS129).

ISBN 9781491162620. UPC: 680160921379. Key: B minor.

Feel the frigid chill of winter winds and brittle ice! This original work for young orchestra offers a contemporary sound with approachable quarter and half note rhythms and basic stepwise motion. Featuring the cello and bass sections prominently, all notes fall within the range of the D major scale, with a brief metallic sound of violins open E string to depict the steely cold. Set in B minor, close (yet easy) intervals create interesting harmonies that hint at dissonance to represent the bitter cold of frozen ice.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 1

SKU: CF.FAS129F

Composed by Todd Parrish. Full score. 8 pages. Duration 1 minute, 50 seconds. Carl Fischer Music #FAS129F. Published by Carl Fischer Music (CF.FAS129F).

ISBN 9781491162965. UPC: 680160921713. Key: B minor.

Feel the frigid chill of winter winds and brittle ice! This original work for young orchestra offers a contemporary sound with approachable quarter and half note rhythms and basic stepwise motion. Featuring the cello and bass sections prominently, all notes fall within the range of the D major scale, with a brief metallic sound of violins open E string to depict the steely cold. Set in B minor, close (yet easy) intervals create interesting harmonies that hint at dissonance to represent the bitter cold of frozen ice.

SS vocal soli, 2 violas, 2 cellos, contrabass (or SS vocal soli, organ)

SKU: CA.4077311

Composed by Franz Lachner. Edited by Georg Gunther. Viola 1. Sacred vocal music, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Viola 1. Composed 1870. Op. 168. 8 pages. Duration 20 minutes. Carus Verlag #CV 40.773/11. Published by Carus Verlag (CA.4077311).

ISBN 9790007220990. Language: Latin.

2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb) Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble (CV 70.037); the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score and part available separately - see item CA.4077300.