Composed by Ludwig van Beethoven (1770-1827). Edited by Leonardo Miucci. This ...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Leonardo Miucci. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Performance
score,
Set of part(s),
anthology.
WoO 36. Baerenreiter
Verlag
#BA09037. Published by
Baerenreiter Verlag
SATB Choir SKU: BT.MUSM570200641 Composed by Anne Boyd. Classical. Vocal ...(+)
SATB Choir
SKU:
BT.MUSM570200641
Composed by Anne Boyd.
Classical. Vocal Score.
64 pages. University of
York Music Press
#MUSM570200641. Published
by University of York
Music Press
(BT.MUSM570200641).
English.
Jesus
Reassures His Mother is a
setting of medieval lyric
poetry written
anonymously in the 14th
century. The poet
recounts a vision of the
young Mary rocking the
infant Christ to sleep.
The child requests his
mother to sing a lullaby
but, alas, knowing her
child’s fate she is too
sad to sing. Jesus tells
her that all mothers
worry about their
children’s futures and
insists that she should
sing nevertheless. Mary
recounts the visit of
Gabriel and the events of
Christ’s birth but
reflects how sad it is to
have delivered a child to
such a fate. Jesus
reassures his mother that
he will be with his
father in heaven where
Mary will come to join
Him at the end of time,
there to livein eternal
bliss. At this point Mary
is persuaded by and
echoes her child’s
reassuring words, and she
is joined in this by the
choir (now representing
us all). The vision fades
away in the voice of the
narrator whose loneliness
and longing return. We
learn that it is
Christmas Day. This
setting grows from the
visionary mystical world
inhabited by Julian of
Norwich whose Revelations
of Divine Love provided
the inspiration for a
work Anne Boyd composed
in 1994. The medium has
been expanded from the
Song Company’s six solo
voices used in the
Revelations to the double
motet choir of the Sydney
Philharmonia who
commissioned this work
for their 75th
anniversary. The parts of
the infant Jesus, Mary,
the Narrator and the
angel Gabriel are taken
by choir soloists:
soprano, alto, tenor and
bass. The work is
situated in the context
of Boyd ’s personal
musical aesthetic which
she describes as the
intersection of Christian
Love with Buddhist
silence.
(Easy Piano Picture Book). By Kenneth Lillington. For Piano. This edition: Easy ...(+)
(Easy Piano Picture
Book). By Kenneth
Lillington. For Piano.
This edition: Easy Piano.
Book; Piano - Easy Piano
Collection; Piano
Supplemental. Faber
Edition. Children;
Christmas; Secular;
Winter. Early
Intermediate; Easy Piano.
Published by Faber Music
(. Children; Christmas;
Secular; Winter.
26 Pieces for Guitar. Composed by Ferdinando Carulli (1770-1841). Edited by d...(+)
26 Pieces for Guitar.
Composed by Ferdinando
Carulli (1770-1841).
Edited
by dé, Fré, and ric
Zigante.
Max Eschig. Softcover.
Editions Max Eschig
#DF16666.
Published by Editions Max
Eschig
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 2.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/14. Published by
Carus Verlag
(CA.3550214).
ISBN
9790007213459. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
Basso continuo + 2 bassoons SKU: CA.3550215 As a pasticcio by Johann S...(+)
Basso continuo + 2
bassoons
SKU:
CA.3550215
As a
pasticcio by Johann
Sebastian Bach, with
arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Individual part. Composed
circa 1747. 40 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/15. Published by
Carus Verlag
(CA.3550215).
ISBN
9790007213466. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. This
edition: Paperbound.
Edition Bach-Archiv
Leipzig - Musical
Monuments. German title:
Markuspassion. Sacred
vocal music, Passions,
Lent and Passiontide,
Holy Week. Single Part,
Organ. Composed circa
1747. 64 pages. Duration
90 minutes. Carus Verlag
#CV 35.502/49. Published
by Carus Verlag
(CA.3550249).
ISBN
9790007141202. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 1.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/13. Published by
Carus Verlag
(CA.3550213).
ISBN
9790007213442. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Choral Score. Composed
circa 1747. 16 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/05. Published by
Carus Verlag
(CA.3550205).
ISBN
9790007213411. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score available
separately - see item
CA.3550200.
St. Mark Passion (Markus-Passion) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Set of Orchestra Parts.
Composed circa 1747.
Duration 90 minutes.
Carus Verlag #CV
35.502/19. Published by
Carus Verlag
(CA.3550219).
ISBN
9790007139629. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and parts
available separately -
see item CA.3550200.
Opera in 3 Acts.
Composed by Siegfried
Matthus. Choir;
Softcover. Deutscher
Verlag.
World
premiere: Netzeband, July
12, 1997
Opera; Music
theatre; Music post-1945;
New music (post-2000).
Choral score. Composed
1996/97. 20 pages.
Deutscher Verlag fur
Musik #DV 7969-02.
Published by Deutscher
Verlag fur Musik
(BR.DV-7969-02).
ISBN
9790200471618. 7.5 x 10.5
inches.
Duration:
full evening Text by the
composer using a text by
Walter Jens Place and
time: Chamber of the King
Philip V. of Spain,
Middle of the 18th
Century Characters:
Farinelli
(Countertenor/alto) -
King Philip V. of Spain
(baritone) - Nicola
Porpora (baritone) - The
Kings Personal Physician,
also Barber (tenor) - The
Kings Confessor, also
Impresario and Priest
(bass) - Maria (Bellino),
later Anna Maria Strada
(soprano) - Georg
Friedrich Handel
(baritone) - Jenny, Jim,
John, English Opera
Troupe (soprano, tenor,
baritone) - The young
Carlo Broschi (boy
treble) The dramaturgical
constellation of the
subject forced me to use
multifaceted and
stylistic means. I have
used melodic segments
from the Farinelli arias
that are still extant
today, as well as other
Baroque vocal and formal
elements, models inspired
by the Singspiel and the
musical, and even a rap
piece over a techno
rhythm. The musical
center of the opera
consists of song and the
human voice. Farinelli is
a bel canto opera.
(Siegfried Matthus) Carlo
Broschi, known as
Farinelli, was the
brightest star among the
castrato tenors of the
18th century. Handels
enemies brought him to
London so that he could
outshine Handels singers.
Here, Matthus depicts
Farinelli at the Spanish
court, ruled by the
pathologically melancholy
King Philip V. In a
review of his life, we
relive important stages
in the career of the
singer, who lived outside
of the norm and found his
home in the fascinating
twilight world between
art and
artificiality.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. This
edition: Paperbound.
Edition Bach-Archiv
Leipzig - Musical
Monuments. German title:
Markuspassion. Sacred
vocal music, Passions,
Lent and Passiontide,
Holy Week. Full score.
Composed circa 1747. 136
pages. Duration 90
minutes. Carus Verlag #CV
35.502/00. Published by
Carus Verlag
(CA.3550200).
ISBN
9790007096106. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about.
SKU: WD.080689457234 Composed by Marty Parks. Choral. Sacred Anthem, East...(+)
SKU:
WD.080689457234
Composed by Marty Parks.
Choral. Sacred Anthem,
Eastertide. Octavo. Word
Music #080689457234.
Published by Word Music
(WD.080689457234).
UPC:
080689457234.
Marty
Parks does it again with
this new festive medley,
inspiring dynamic and
resounding praise and
worship of the
resurrected King! Big and
majestic, and featuring
well-known hymns of the
season (Christ Is
Risen, Jesus
Christ Is Risen
Today, and Crown
Him with Many
Crowns), the
Risen Today
Medley is sure to
be a hit among your choir
and congregation this
Easter.
Viola and Piano SKU: BT.YE0009 For Violone. Composed by Giovannino...(+)
Viola and Piano
SKU:
BT.YE0009
For
Violone. Composed by
Giovannino. Classical.
Book Only. Yorke Edition
#YE0009. Published by
Yorke Edition
(BT.YE0009).
Very little is
known about the two
sonatas which appear here
in their original keys.
They were placed in the
library of the Music
School in Oxford at the
end of the seventeenth
century in a form
convenient for playing
(i.e.unbound). The
library was catalogued by
Hake between 1850 and
1855 and the sonatas were
eventually bound in 1855
with other instrumental
and vocal manuscripts of
the same period, some of
which are dated
1698.
The
sonatasare both inscribed
on the title page Sonata
Violone Solo. Col Basso
per l'Organo, o Cembalo.
A third sonata bears the
words Sonata Violino e
Violoncino â?¦ di
Giovannino del Violone.
Giovannino (=Little, or
Young John)musthave been
a performer, and although
the third sonata has been
copied by a different
hand, it is conceivable
that Giovannino is a
connecting link between
the three. He cannot,
however, be assumed to be
theirauthor.
The
Violone was a
six-stringed instrument
with frets, and there is
evidence to suggest that
the Contrabasso of the
same period was similar
but probably a little
larger; the Violoncino
(=Little Violone,
orVioloncello) must have
been smaller. The word
'Violone' was also used
as a collective term
embracing all members of
the Viol family, which
means that the sonatas
might well have been
written for a tenor or a
bass Viol, and
notnecessarily a Violone
as such. Indeed, when
they are played on a
Violone, or Double Bass
the continuo bass line
must be played at a lower
pitch than the solo
instrument, to prevent
inversion of the intended
harmony. (The use ofa
Violone/Double Bass
continuo or 16' organ
tone would overcome this
problem.)
The
editor has added no
ornaments or
embellishments to the
solo part as it appears
in the original
manuscript. It is open to
debate whether aViolone
player, owing to the very
nature of his instrument,
would have used any but
the simplest melodic
decorations.
Nevertheless, the
performer should acquaint
himself thoroughly with
those seventeenth century
traditions thatare known
today (see Dart.
Chorus with inst. SKU: BR.DV-1170 Composed by Felix Bartholdy Mendelssohn...(+)
Chorus with inst.
SKU:
BR.DV-1170
Composed
by Felix Bartholdy
Mendelssohn. Edited by
Burkhar and Walter H.
Bernstein. Choir;
Softbound. Deutscher
Verlag. Cantata;
Romantic. Full score. 88
pages. Deutscher Verlag
fur Musik #DV 1170.
Published by Deutscher
Verlag fur Musik
(BR.DV-1170).
ISBN
9790200471441. 4.5 x 7
inches.
Like many
other sacred works
written by the young
Mendelssohn, the Te Deum
was also conceived for
Berlin's Singakademie.
The 17-year-old composer
based himself on Handel's
wellknown Te Deum
settings. Nevertheless,
this early work already
anticipates the later,
large-scale works in
which Mendelssohn brought
about a renewal of
Protestant church music.
Am Beginn des zweiten
Teils halt die
Komposition mit
tanzerischer Musik Einzug
auf dem Ball ehe es
schliesslich wieder durch
die winterliche Nacht
nach Hause geht. Die
historische Einrichtung
fur Streicher mit
kindgemassen
Spielzeuginstrumenten hat
Franz-Theodor
Cursch-Buhren bereits
1896 bei Breitkopf &
Hartel
veroffentlicht.
Baritone Solo, 8-Part
Chorus and Orchestra
Study Score. Composed
by Johannes Brahms.
Edited by Johannes Behr
and Ulrich Tadday. Henle
Study Scores. Classical.
Softcover. G. Henle
#HN9030. Published by G.
Henle (HL.51489030).
UPC: 196288093763.
6.75x9.5x0.505
inches.
Brahms
composed his Triumphlied
for eight-part chorus,
solo baritone and
orchestra as a direct
reaction to the victory
of the German army in the
Franco-Prussian War of
1870/71 and the
consequent founding of
the German Empire.
Similar to the German
Requiem completed shortly
before, Brahms himself
compiled the text from
the Bible, in this case
from Chapter 19 of the
Book of Revelations.
Because of the somewhat
melodramatic tone of the
composition and the
nationalistic background
to the works genesis, in
recent years the
Triumphlied has seldom
been heard in concert
halls. Unlike
overly-patriotic
occasional works such as
Richard Wagner's
Kaisermarsch, the
Triumphlied is true
Brahms and is a musically
rich composition. This
study edition takes the
musical text from the
Brahms Complete Edition
(HL 51486030), thereby
representing the highest
scholarly precision. The
Appendix contains an
exciting new discovery, a
previously-unknown early
version of the 1st
movement in C major,
which was only
rediscovered in 2012 in
Bremen.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Chorus a cappella SKU: BR.CHB-5381-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5381-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 80 pages.
Breitkopf and Haertel
#ChB 5381-00. Published
by Breitkopf and Haertel
(BR.CHB-5381-00).
ISBN
9790004413821. 7.5 x 10.5
inches. English.
As
director of the Bavarian
Radio Choir, Howard Arman
has been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Chorus a cappella SKU: BR.CHB-5380-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5380-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 40 pages.
Breitkopf and Haertel
#ChB 5380-00. Published
by Breitkopf and Haertel
(BR.CHB-5380-00).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
A Charles Dickens Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional Engl...(+)
Concert band - Grade 3
SKU:
MH.1-59913-050-5
Composed by traditional
English carols. Arranged
by William Ryden.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 6:30. Published
by Manhattan Beach Music
(MH.1-59913-050-5).
ISBN
9781599130507.
Char
les Dickens certainly
would have known the
three carols in A CHARLES
DICKENS CHRISTMAS. They
were among the best-known
and best-loved carols of
the Victorian Era, and
were a staple of the
repertoire of roving
waits, or carollers, that
appear in his novels.
Today this music is as
familiar as Santa Claus
and Tiny Tim. THE FIRST
NOWELL was first
collected in Christmas
Carols, Ancient and
Modern by William Sandys
in 1833. It is most
probably 200 years older
than that. The Oxford
Book of Carols contains
nine verses, which makes
it an ideal processional
for Christmas or Epiphany
(the feast commemorating
the coming of the Magi).
COVENTRY CAROL, or Lully,
Lullay, comes from the
medieval tradition of
mystery and miracle
plays. In 1534 the
Pageant of the Shearman
and Tailors Guild
included a scene in which
the mothers of Jewish
children sang this
haunting lullaby after
hearing the horrifying
order: Herod the king, In
his raging, All young
children to slay. The
music is anonymous; the
text believed to be by
Robert Croo. ANGELS WE
HAVE HEARD ON HIGH is
probably of French
origin, but the English
long ago adopted it as
their own. Besides the
French text, Les Anges
dans nos compagnes, it is
known in several versions
and by several titles,
including Angels from the
Realms of Glory, When the
Crimson Sun Had Set, and
Westminster Carol. It
belongs to a category
known as macaronic
carols, which mix
vernacular verses with
Latin refrains - in this
instance, Gloria in
Excelsis Deo (Glory be to
God on High). Ensemble
instrumentation: 1
Piccolo, 8 Flute, 2 Oboe,
1 Bassoon 1, 1 Bassoon 2,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 1 Eb Alto Clarinet, 3
Bb Bass Clarinet & Bb
Contrabass Clarinet, 2 Eb
Alto Saxophone 1, 2 Eb
Alto Saxophone 2, 1 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1, 2 F Horn 2, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(Bass Clef), 2 Euphonium
(Treble Clef), 5 Tubas, 1
Timpani, 2 Bells &
Chimes, 3 Percussion 1:
small triangle, suspended
cymbal, crash cymbal,
snare drum, bass drum, 2
Percussion 2: large
triangle, finger
cymbals.
Jenamy Concerto
(formerly known as
Jeunhomme Concerto) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Robert Cliff u.
Levin Eisen. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Robert
Levin's brilliant and
inspired recording (with
Christopher Hogwood and
the Academy of Ancient
Music) and Breitkopf's
new edition have two
things in common: their
historically well-founded
approach and the
editorial team consisting
of Robert Levin and Cliff
Eisen. Here, Urtext
signifies an eschewal of
a final version that
never existed and that
Mozart himself had never
even envisaged. On the
contrary, Levin and Eisen
pursue an editorial
philosophy tailored to
Mozart and his music:
Standardization is the
greatest aesthetic threat
in the performance of
Mozarts concertos. To
prepare the score of the
new edition, the editors
were able to consult the
autograph, located in
Krakow, for the very
first time. The new
edition clearly
incorporates a much
broader base of findings
than any previous
edition, including the
NMA. At the same time,
the score and piano
reduction offer a wealth
of additional information
on performance practice
gleaned from further
authentic sources,
including observations on
continuo practice,
instruments, size and
disposition of the
orchestra, ornaments,
tempo and character,
cadenzas and
flourishes.
Very little is known about the two sonatas which appear here in their origina...(+)
Very little is known
about the two sonatas
which appear here in
their original keys. They
were placed in the
library of the Music
School in Oxford at the
end of the seventeenth
century in a form
convenient for playing
(i.e.unbound). The
library was catalogued by
Hake between 1850 and
1855 and the sonatas were
eventually bound in 1855
with other instrumental
and vocal manuscripts of
the same period, some of
which are dated
1698.
Thesonatas
are both inscribed on the
title page Sonata
à Violone Solo.
Col Basso per l'Organo, o
Cembalo. A third sonata
bears the words Sonata
à Violino e
Violoncino … di
Giovannino del
Violone.Giovannino(=Littl
e, or Young John) must
have been a performer,
and although the third
sonata has been copied by
a different hand, it is
conceivable that
Giovannino is a
connecting link between
the three. He cannot,
however, beassumed to be
their
author.
The
Violone was a
six-stringed instrument
with frets, and there is
evidence to suggest that
the Contrabasso of the
same period was similar
but probably a little
larger; the
Violoncino(=Little
Violone, or Violoncello)
must have been smaller.
The word 'Violone' was
also used as a collective
term embracing all
members of the Viol
family, which means that
the sonatas might well
have been written for a
tenor or abass Viol, and
not necessarily a Violone
as such. Indeed, when
they are played on a
Violone, or Double Bass
the continuo bass line
must be played at a lower
pitch than the solo
instrument, to prevent
inversion of the
intendedharmony. (The use
of a Violone/Double Bass
continuo or 16' organ
tone would overcome this
problem.)
The
editor has added no
ornaments or
embellishments to the
solo part as it appears
in the original
manuscript. It isopen to
debate whether a Violone
player, owing to the very
nature of his instrument,
would have used any but
the simplest melodic
decorations.
Nevertheless, the
performer should acquaint
himself thoroughly with
those seventeenthcentury
traditions that
The Essential Guide to Playing Drumset for Live Shows and Musicals. Percussion. ...(+)
The Essential Guide to
Playing Drumset for Live
Shows and Musicals.
Percussion. Book and CD
Package. Size 9x12
inches. 70 pages.
Published by Hal Leonard.