SSAATTBB a cappella. By Benjamin Britten. (SSAATTBB A Cappella). Boosey and Haw...(+)
SSAATTBB a cappella. By
Benjamin Britten.
(SSAATTBB A Cappella).
Boosey and Hawkes Sacred
Choral. Size 6.75x10.5
inches. 8 pages.
Published by Boosey and
Hawkes.
Wolcum Yole Chorale SATB SATB, Harpe Boosey and Hawkes
SATB and Harp (Piano). By Benjamin Britten. Arranged by Julius Harrison. (SATB)...(+)
SATB and Harp (Piano). By
Benjamin Britten.
Arranged by Julius
Harrison. (SATB). Boosey
and Hawkes Sacred Choral.
Size 6.8x10.5 inches. 8
pages. Published by
Boosey and Hawkes.
((from A Ceremony of Carols) SATB and Harp or Piano, New Edition). Composed by B...(+)
((from A Ceremony of
Carols) SATB and Harp or
Piano, New Edition).
Composed by Benjamin
Britten (1913-1976). For
Choral (SATB). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481613. Published by
Boosey and Hawkes
Composed by Daniel Dorff. Premiered by Joan Sparks, flute, and Anne Sullivan, ha...(+)
Composed by Daniel Dorff.
Premiered by Joan Sparks,
flute, and Anne Sullivan,
harp. Contemporary. Score
and part(s). With
Standard notation.
Composed 2015. 44 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41769. Published by
Theodore Presser Company
(PR.114417690).
SATB choir a cappella - Advanced SKU: MN.50-4031 Composed by Kevin Waters...(+)
SATB choir a cappella -
Advanced
SKU:
MN.50-4031
Composed
by Kevin Waters.
Cathedral Series.
Catholic Year A Easter
Sunday; Catholic Year C
Easter Sunday;. Easter,
Easter Vigil. Octavo.
MorningStar Music
Publishers #50-4031.
Published by MorningStar
Music Publishers
(MN.50-4031).
UPC:
688670540318.
Based
on Victimae Paschali
laudes. Moves from chant
to polyphony, Latin to
English. Modal cadences
recall late Medieval
style.
(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSS and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481620. Published by
Boosey and Hawkes
(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). ...(+)
(SSA Chorus, Harp or
Piano). By Benjamin
Britten (1913-1976). For
Choral (SSA). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481644. Published by
Boosey and Hawkes
(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSA and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481590. Published by
Boosey and Hawkes
Horn and Piano SKU: HL.14029884 Composed by John McCabe. Music Sales Amer...(+)
Horn and Piano
SKU:
HL.14029884
Composed
by John McCabe. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV120478.
Published by Music Sales
(HL.14029884).
8.25x11.75x0.09
inches.
The Goddess
Trilogy was inspired by
the Welsh medieval legend
of the goddess Cerridwen
who was both destroyer
and creator, a
shape-changing being who
appeared various as a
white sow, a screaming
black hag and a giver of
the 'inspired arts'.
Shapeshifter is a
fast-moving work
combining rondo structure
with free variations. It
relates to the opening
work of the trilogy
through the short Horn
solo in the final
bars.Contemporary British
composer John McCabe has
been a prolific composer
since his earliest years
and an active pianist,
recording extensively and
performing across the
globe. His compositions
tend toward the
largescale works - there
are seven symphonies so
far -but has composed for
every size and type of
ensemble. He is
particularly well known
for his concerti.
SATB Chorus, a cappella SKU: SU.26180050 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.26180050
For SATB Chorus, a
cappella. Composed by
William Mc Clelland.
Vocal/Choral, Sacred
Choral. A cappella.
Choral Score. Subito
Music Corporation
#26180050. Published by
Subito Music Corporation
(SU.26180050).
Hail Lovely and
Pure is a setting for a
cappella chorus of a
short poem from The
Second Shepherds' Play,
an English mystery play
written in the 15th
century by The
Wakeï¬eld Master of
Northern England. Mystery
(or miracle) plays were a
form of medieval drama
that represented Biblical
subjects such as the
Creation and the Last
Judgment. The text
consists of the ï¬rst
lines spoken by the
shepherds when they
entered the stable to
celebrate the birth of
Jesus. My brother David
C. K. McClelland
(1947-1976) translated
this fragment from the
original Middle English
and made a small
calligraphic version of
it which I discovered
among his papers. David
probably intended to make
a larger, more elaborate
manuscript of the poem,
though if he did so it
has not been found.SATB
Chorus, a cappella
Duration: 13'30 Composed:
2011 Published by: WMC
Music (BMI).
Quasi Hoquetus Piano Trio: Instruments de chambre mixtes Sikorski
For Viola, Cello and Piano. Composed by Sofia Gubaidulina (1931-). String...(+)
For Viola, Cello and
Piano. Composed by
Sofia Gubaidulina
(1931-). String Ensemble.
Contemporary, Classical.
Sikorski #SIK8678.
Published by Sikorski
(HL.50600435).
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!
Celtic, Perfect binding.
Festival. Book and online
audio. 244 pages. Mel Bay
Publications, Inc
#30957M. Published by Mel
Bay Publications, Inc
(MB.30957M).
ISBN
9781513466101. 8.75 x
11.75 inches.
This
collection shows a wide
variety of musical
approaches in open and
alternate tunings. The
arrangements come from
the playing of Davey
Graham, Pat Kirtley, Tony
McManus, John Renbourn,
John Fahey, Sandy Shalk,
Dave Evans, Martin
Carthy, El McMeen, Leo
Wijnkamp and Stefan
Grossman. The music
ranges from the medieval
La Rotta to Willie
Brown?s Future Blues from
the deep Mississippi
delta; from O?Carolan?s
Lord Inchiquin to
Waterbound, an old-time
folksong. From Celtic
airs and jigs to gospel
and blues you will
explore the world of
tunings. Hopefully, this
collection will help you
to discover new
approaches and techniques
to playing your
instrument. Along the way
you?ll have fingerpicking
challenges and fun.
Mixed choir and orchestra SKU: BO.B.3095 Composed by Manuel Oltra. Instru...(+)
Mixed choir and orchestra
SKU: BO.B.3095
Composed by Manuel Oltra.
Instrumental Sets.
Duration 10:10. Published
by Editorial de Musica
Boileau (BO.B.3095).
English
comments: This is a
symphonic-choral work
based on the Latin text
of Psalm 96 and written
without a set plan, as
the music merely aims to
express the nature and
purpose of the word. Its
structure is therefore
very free, similar to
that of some medieval
madrigalists. The small
choir does not
necessarily have to be
separate from the large
choir. It can be a part
of it (half or a third).
The use of a piano
instead of a harp and the
lack of violins in the
orchestra seems quite
fitting to the nature of
the piece. However, this
is not so unusual.
Composed in 1967, it was
first performed at the
Palau de la Musica
Catalana on 5 November
1971. There is also a
version for choir, two
pianos and two
percussionists, which,
due to its simplified
number of musicians, has
become more widely
known.
Comentari
os del Espanol: Obra
sinfonico-coral basada en
el texto latin del salmo
96 y escrita sin un plan
determinado, ya que la
musica solo pretende
expresar el caracter y la
intencion de la palabra.
Su estructura es, por lo
tanto, muy libre,
parecida a la de algunos
madrigalistas medievales.
El Coro pequeno no tiene
por que estar
necesariamente separado
del grande. Puede ser una
parte (la mitad o un
tercio) de este. El hecho
de usar un piano en vez
del arpa y de ser una
orquesta sin violines
parece bastante adecuado
al caracter de la obra.
Sin embargo, no es algo
insolito. Compuesta en
1967, se estreno en el
Palau de la Musica
Catalana el dia 5 de
noviembre de 1971. Existe
tambien una version para
Coro, dos pianos y dos
percusionistas que, por
la simplificacion en el
numero de interpretes, ha
facilitado su
divulgacion.