Choral SuiteInstrument : Fraunechoir (SSA), piano and recorder (optional)Type : vocal/piano scoreNombre de Pages : 72Cantata mundi is a development of ideas first heard in Songs of Sanctuary, where the world of ethnic influenced (both in vocal sound and percussion) are combined with established Western European classical technique to present a unified work.Vocally, the spread of influence is wider than in Songs of Sanctuary, with Eastern European and Arabic sounds added to the African, Celtic and ecclesiastical blend. Once again, the text is written phonetically with the words viewed as instrumental sound. In Cantata mundi, the sound is more symphonic, with woodwind and brass added to the strings, percussion and recorder. The seven main Cantus movements incorporate ethnic percussion, and are interspersed with shorter chorales. This suite is an arrangement for upper voices and piano with additional recorder part and includes four Cantus and four chorale movements.Content : Cantus Song of Tears - Chorale Za ma ba - Cantus Song of the Spirit - Chorale Arama Ivi - Cantus Song of the Plains - Chorale Sol-Fa - Cantus Song of the Trinity - Choral A ma ka ma

Par BACH JOHANN SEBASTIAN / GREBER JAKOB / VIVALDI ANT. In the opera and cantata orchestra of the baroque the sound and gentle timbre of the recorder had a special significance. It served pre-eminently to represent the emotional states of love, pain and sorrow. Many arias with obbligato recorder which have survived are still unknown today, despite the diligent efforts of “early music” enthusiasts to uncover these treasures. Through the “Flauto e voce” series this repertoire, for both study and concert use, is experiencing an interesting expansion and enrichment. The present new issue offers three arias from Bach Cantatas BWV 103 and 182 [the latter in two versions], 2 arias from Vivaldi’s operas as well as a graceful Italiancantata from the historically, practically unknown composer Jakob Greber [ca. 1710]. The Greber piece is in a style similar to Vivaldi. In this collection the Soprano, Sopranino and Alto recorders are employed./ Répertoire / Voix, Flûte à Bec et Basse Continue

Bring singable songs and practical pedagogy together with 20 MORE children's songs, rhymes and games from around the world! Songbook Three also features extension activities for the classroom, historical references, pedagogical indices and suggestions for including these songs in the First We Sing literacy-based music series available from Hal Leonard. In addition, there are suggestions for Orff instruments and recorder, along with seasonal and holiday songs, singing games and songs just for fun. This third volume comes with digital access to songsheet PDFs for projection or print options, and audio access to sing-along recordings featuring Inner Voices, a group of 8-16 year-old singers from The West Texas Children's Chorus. Ideally suited for teaching musical skills, this collection provides a vocabulary of music and play from which children can draw today. Adults and kids of all ages will discover the fun and enjoyment of listening, learning, singing and playing these songs for generations to come! 20 songs including: Bandyrowe, Goin' to Boston, I'se the Bye, Little Sally Walker, Steal Liza Jane, T'was in the Moon of Wintertime, and more! Suggested for grades 1-5. / Chant

Kantate Zum 4. Advent. Par TELEMANN GEORG PHILIPP. A three-movement work for Advent from Telemann’s annual cycle of cantatas, “Der Harmonische Gottesdienst” [Hamburg 1725/26]. In the two arias Telemann gives the solo singer and also the recorder player ample opportunities for displays of virtuosity. / Date parution : 1991-09-01/ Répertoire / Solo S (T), Flûte à Bec et Basse Continue

Kantate Zum 12. Sonntag Nach Trinitatis. Par TELEMANN GEORG PHILIPP. This three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument [+ a continuo melody instrument ad lib. ]. If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work byadding a four-part chorus from the more fully scored original version, which Telemann did not publish./ Répertoire / Solo S (T), Flûte à Bec F1 (Violon), Hautbois (Vio

Par TELEMANN GEORG PHILIPP. 72 Solo Cantatas for Voice, Melodic Instrument and Basso continuo. Advent & Christmas - Medium Voice. When Telemann issued his first annual cycle of printed cantatas, Der Harmonische Gottesdienst (Hamburg, 1725-6), he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring, the 72 solo cantatas have remained very popular to the present day. These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice. Each series spreads the works over three volumes accompanied by separate parts forsolo instrument and continuo. The cantatas follow the order of the liturgical year, beginning with the Christmas season and continuing with Easter and Trinity. Being practically minded, Telemann arranged the ambitus of the Vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’. Similarly, the solo instruments are suitable for Violin, Oboe, Recorder or Flute. - Interesting solo cantatas for use in church services. - Urtext from the Telemann Edition. - Separate parts for instrument and continuo./ Répertoire / Voix Moyennes

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Par PAGE NICK. SA, Recorder. Page, N/ Feuillet / 2 Parties Voix Aigües (SA), Flûte à Bec Soprano et

Kantate Zum 12. Sonntag Nach Trinitatis. Par TELEMANN GEORG PHILIPP. This three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument [+ a continuo melody instrument ad lib. ]. If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work byadding a four-part chorus from the more fully scored original version, which Telemann did not publish./ Répertoire / Solo S (T), Flûte à Bec F1 (Violon), Hautbois (Vio

Kantate Zum 4. Advent. Par TELEMANN GEORG PHILIPP. A three-movement work for Advent from Telemann’s annual cycle of cantatas, “Der Harmonische Gottesdienst” [Hamburg 1725/26]. In the two arias Telemann gives the solo singer and also the recorder player ample opportunities for displays of virtuosity. / Date parution : 1991-09-01/ Répertoire / Solo S (T), Flûte à Bec et Basse Continue

Cantata for the Sundays after Trinity. Par TELEMANN GEORG PHILIPP. 72 Solo Cantatas for Voice, Melodic Instrument and Basso continuo. Cantatas For The Sundays After Trinity - Medium Voice. When Telemann issued his first annual cycle of printed cantatas, Der Harmonische Gottesdienst (Hamburg, 1725-6), he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring, the 72 solo cantatas have remained very popular to the present day. These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice. Each series spreads the works over three volumes accompanied byseparate parts for solo instrument and continuo. The cantatas follow the order of the liturgical year, beginning with the Christmas season and continuing with Easter and Trinity. Being practically minded, Telemann arranged the ambitus of the vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’. Similarly, the solo instruments are suitable for Violin, Oboe, Recorder or Flute. - Interesting solo cantatas for use in church services. - Urtext from the Telemann Edition. - Separate parts for instrument and continuo./ Répertoire / Voix Moyennes

Verschiedene (S. Einzeltitel). original compositions for soprano, recorder, and basso continuo/ Répertoire / Voix, Flûte à Bec et Basse Continue