Raising the curtain on Christopher Norton's Micromusicals - exciting and accessible musicals for schools based on popular classroom teaching topics from the creator of the internationally-acclaimed Microjazz series. Designed for children aged 6-12, each production lasts around 30 minutes and can be learned, rehearsed and performed in as little as 2 days.Stage a real class act with this comprehensive and flexible resource:Succinct casting and direction suggestionsOptional props list with a wealth of additional downloadable resourcesStraightforward and catchy songs, with complete demonstration and backing tracks on an accompanying CDVoice and piano scores with guitar chordsA wide range of flexible easy band and orchestral parts available to download which can be played in conjunction with the backing tracks or as part of an independent live orchestral or bandPhotocopiable lyric sheets (also available as downloads for printing or projection)Wide-ranging cross-curricular teaching and classroom activity suggestionsA customisable poster to publicise performancesA Christmas Carol is an English literary classic written by Charles Dickens and was first published in December 1843. The popular novella is studied at Key Stage 2 and 3 as part of the National Curriculum in England, as well as at schools and colleges elsewhere in the UK and around the world. In this new Micromusical adaption, the abridged story is told through drama and song. / Choeur Mixte Et Piano

Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Choeur Mixte (SATB)

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Par BACH JOHANN SEBASTIAN. Klavierauszug fur Gesangssoli, Gemischtchor und Klavier. Soli: SB & Chor: SB. Piano reduction for Cantata No 212 'Mer hahn en neue Oberkeet' BWV 212 for Soprano and Bass solo. / Hymnes et chorals / Répertoire / Soliste, Choeur Mixte et Orchestre

Cantate BWV 11. Par BACH JOHANN SEBASTIAN. English/ Répertoire / Soliste, Choeur Mixte et Orchestre

Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-08-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Musique religieuse / Date parution : 2006-08-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Légende dramatique en quatre parties. Par BERLIOZ HECTOR. In 1828 Berlioz wrote the 'Huit scènes de Faust'. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Légende dramatique 'La damnation de Faust' dedicated to Franz Liszt. The first part of the 'Damnation' exposes the figure of Faust and has an introductory nature. From the second part onwards, the course of action is largely based on Goethe?s drama. Contrasting characters and dramatic effect are of central importance in understanding Berlioz?s musical thought and his compositional process. Magic and fairy tale, incantations and ghosts, have been the ever-recurring themes ofopera since the Baroque. It is precisely this fantasy in Berlioz's Faust, the ?Opéra de Concert en Quatre acts?, which comes very close to the spirit of Goethe's presentation. Reliable Piano reduction based on the Urtext of the New Berlioz Edition Straight-forward Piano reduction in the Vocal score Clear user-friendly layout French original text with German translation Full score (BA5448) and Vocal score (BA5448-90) available for sale, performance material (BA5448-72) available for hire/ Répertoire / Voix Chantante, Choeur Mixte, Orchestre

WAB 29. Par BRUCKNER ANTON. Anyone who is familiar with Bruckner?s symphonies and great masses will probably be astonished upon hearing his Missa solemnis of 1854: can the tradition of the Viennese classics still be so clearly evident in a work by Bruckner' And yet, isn?t it also possible to hear much of Bruckner?s later style'With this edition, the earliest of Bruckner?s orchestral masses is now available as an Urtext edition. It reflects the latest scholarly research, and the complete performance material is available on sale. Compared with Bruckner?s late masses, the demands on chorus and soloists are considerably less. The horns play in just two movements and can be replaced by trombones. This rarely performed work offers many choirs an exciting alternative to the better-known masses ? not only for the Bruckner anniversary in 2024! / Date parution : 2023-03-11/ Répertoire / Soli [SATB], SATB et Orchestre