By George Frideric Handel. For SATB Choir, Piano Accompaniment. Baroque, Sacred,...(+)
By George Frideric
Handel. For SATB Choir,
Piano Accompaniment.
Baroque, Sacred, Choral,
Religious. Sheet Music.
264 pages. Published by
Novello and Co Ltd.
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd
My Dearest Ruth Voix Mezzo-Soprano, Piano Theodore Presser Co.
For Mezzo-soprano and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes...(+)
For Mezzo-soprano and
Piano.
Composed by Stacy Garrop.
Sws. Duration 6 minutes,
40
seconds. Theodore Presser
Company #111-40297.
Published
by Theodore Presser
Company
For Baritone and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 ...(+)
For Baritone and Piano.
Composed by Stacy Garrop.
Sws. Duration 6 minutes,
40
seconds. Theodore Presser
Company #111-40298.
Published
by Theodore Presser
Company
by Robert Burns; researched and arranged by Serge Hovey. For Vocal. songbook. Sc...(+)
by Robert Burns;
researched and arranged
by Serge Hovey. For
Vocal. songbook.
Scottish. Level:
Intermediate. Book. Size
8.75x11.75. 240 pages.
Published by Mel Bay
Publications, Inc.
Voice(s) solo SKU: BR.EB-8424 (Plainte sur la perte de la reflexion mu...(+)
Voice(s) solo
SKU:
BR.EB-8424
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by Klaus Huber. Voice;
stapled. Edition
Breitkopf.
You will
need a copy of BG 1002
for each player to
perform the version for
variable instrumentation
(BG 1004).
Music
post-1945; New music
(post-2000). Score.
Composed 1972. 8 pages.
Duration 20'. Breitkopf
and Haertel #EB 8424.
Published by Breitkopf
and Haertel (BR.EB-8424).
ISBN 9790004185254. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109.
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
Composed by George Frederic Handel (1685-1759). 1741. Orchestral part for second...(+)
Composed by George
Frederic Handel
(1685-1759). 1741.
Orchestral part for
second violin. With
standard notation and
vocal cues. 41 pages.
Published by G. Schirmer,
Inc.
Orchestra - Grade 2-3 SKU: AP.41206 Featuring Parts for Middle School ...(+)
Orchestra - Grade 2-3
SKU: AP.41206
Featuring Parts for
Middle School and High
School. Composed by
Julie Lyonn Lieberman.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Score and Part(s). 252
pages. Belwin Music
#00-41206. Published by
Belwin Music (AP.41206).
UPC: 038081465753.
English.
Newtown
wants to be remembered as
a center for
transformation. Composed
by a Newtown resident,
this music is a heartfelt
tribute to Newtown's
fallen angels and their
families and more. It is
a celebration of love
over evil and the key
role music can play as a
healing force in any
community. The
arrangement includes two
sets of parts (grade 2
and grade 3,
respectively) so that
older and younger
students may perform the
piece either together or
separately. A free
downloadable performance
video with inspirational
quotes is available, as
well as a workbook that
promotes a culture of
kindness, at
newtownpeacepark.com.
(3:00) This title is
available in MakeMusic
Cloud.
SKU: LO.99-4130L Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, ...(+)
SKU: LO.99-4130L
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral, cantatas.
Eastertide, Lent.
Accompaniment CD. Lorenz
Publishing Company
#99/4130L. Published by
Lorenz Publishing Company
(LO.99-4130L).
UPC:
000308155723.
Worth
y Is the Lamb! is the
compelling story of God's
plan to deliver all
people from the clutches
of sin and death. Lloyd
Larson presents this
powerful reminder that
Isaiah's prophetic words
were fulfilled in Jesus:
Surely He has borne our
griefs and carried our
sorrows. He was pierced
for our transgressions;
crushed for our
iniquities; upon Him was
the chastisement that
brought us peace, and by
His wounds we are healed
(Isaiah 53:4-5). Flexibly
conceived for Lent, Holy
Week, or Eastertide
programming, each of the
three sections may be
presented during the
weeks or days leading up
to Easter, or the entire
musical may be presented
a single worship
experience. Small and
large choirs alike will
find the choral writing
appealing and versatile.
Accompaniment options
ranging from piano only
to full orchestra with CD
accompaniment or live
instruments ensures
maximum flexibility for
your unique programming
needs.
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. Choral score.
Lorenz
Publishing Company
#55/1205L.
Published by Lorenz
Publishing Company
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. Choral score.
Lorenz
Publishing Company
#55/1203L.
Published by Lorenz
Publishing Company
SKU: LO.99-4133L Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, ...(+)
SKU: LO.99-4133L
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral, cantatas.
Eastertide, Lent. Bulk
performance CDs. Lorenz
Publishing Company
#99/4133L. Published by
Lorenz Publishing Company
(LO.99-4133L).
UPC:
000308155754.
Worth
y Is the Lamb! is the
compelling story of God's
plan to deliver all
people from the clutches
of sin and death. Lloyd
Larson presents this
powerful reminder that
Isaiah's prophetic words
were fulfilled in Jesus:
Surely He has borne our
griefs and carried our
sorrows. He was pierced
for our transgressions;
crushed for our
iniquities; upon Him was
the chastisement that
brought us peace, and by
His wounds we are healed
(Isaiah 53:4-5). Flexibly
conceived for Lent, Holy
Week, or Eastertide
programming, each of the
three sections may be
presented during the
weeks or days leading up
to Easter, or the entire
musical may be presented
a single worship
experience. Small and
large choirs alike will
find the choral writing
appealing and versatile.
Accompaniment options
ranging from piano only
to full orchestra with CD
accompaniment or live
instruments ensures
maximum flexibility for
your unique programming
needs.
Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. SATB with perfor...(+)
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. SATB with
performance
CD. Lorenz Publishing
Company
#55/1204L. Published by
Lorenz Publishing Company