By Camilla De Rossi; Catterina Benedetta Grazianini. Edited by Barbara Jackson. ...(+)
By Camilla De Rossi;
Catterina Benedetta
Grazianini. Edited by
Barbara Jackson. Text by:
Camilla de Rossi;
Cardinal Benedettoo
Pamphili. Voices and
basso continuo. Arias.
Arias From Oratorios By
Women Composers Of The
18th Century, Volume 3.
Arias from oratorios.
Baroque. Level: Adult.
Sheet music. 73 pages.
Published by ClarNan
Editions.
By Franz Schubert. Arranged by Daniel Kelley. For Voice, Piano and Cello. Solos....(+)
By Franz Schubert.
Arranged by Daniel
Kelley. For Voice, Piano
and Cello. Solos.
Recital. Level:
Intermediate/Advanced.
Piano Score and Cello
Part. Published by Last
Resort Music Publishing.
(Romansy i pesni : dlia golosa v soprovozhdenii fortepiano). By Aleksandr Porfir...(+)
(Romansy i pesni : dlia
golosa v soprovozhdenii
fortepiano). By Aleksandr
Porfir'evich Borodin. For
voice and piano
accompaniment. Vocal
music. Language: Russian.
Published by Noten Roehr
(Cello Part). Composed by Dr. Shinichi Suzuki. For Cello. This edition: Revised....(+)
(Cello Part). Composed by
Dr. Shinichi Suzuki. For
Cello. This edition:
Revised. Book; CD;
Method/Instruction;
String - Cello (Suzuki);
Suzuki. Suzuki Cello
School. 20 pages.
Published by Alfred Music
(12 Works from the 20th Century Cello and Piano and Solo Cello). Composed by Var...(+)
(12 Works from the 20th
Century Cello and Piano
and Solo Cello). Composed
by Various. For Cello,
Piano Accompaniment.
String Solo. Softcover.
72 pages. G. Schirmer #ED
4550. Published by G.
Schirmer
Composed by
Jimmy Baas. Sws.
Performance Score. 16
pages. Duration 3
minutes, 49 seconds. Carl
Fischer Music #CM9625.
Published by Carl Fischer
Music (CF.CM9625).
ISBN 9781491156988.
UPC: 680160915545. 6.875
x 10.5 inches. Key: Bb
major. English, English.
William Butler
Yeats.
The
Everlasting Voices is the
perfect blend of textural
variety and harmonic
interest for the advanced
treble ensemble.
Employing a powerful
text, Baas' vocal
layering coupled with
piano and optional cello
make this compelling
piece a programming
must!. O sweet
everlasting Voices, be
still; Go to the guards
of the heavenly fold And
bid them wander obeying
your will, Flame under
flame, till Time be no
more; Have you not heard
that our hearts are old,
That you call in birds,
in wind on the hill, In
shaken boughs, in tide on
the shore? O sweet
everlasting Voices, be
still. This SSAA choral
work by Jimmy Baas was
comissioned by the
Lumberton HS Varsity
Treble Choir. The opening
and closing lines of the
poem, O sweet everlasting
voices, be still provide
the perfect bookends for
two larger sections of
the poem. These two
sections are equally
divided into verses. The
opening line is used once
again as a transition
between the verses. The
previously mentioned
lines, O sweet
everlasting voices, are
overlapped as different
layers of voices enter
and sustain. A fifth and
sixth voice, the cello
and piano accompaniment
take part in these layers
as well. The words be
still are very much a
part of the mood each
time as the everlasting
voices become quiet and
still. The two verses
feature different voices
within the SSAA choir.
Verse 1, the sopranos,
and verse 2 the altos.
There are many moments in
this piece to explore the
full range and color of
the SSAA choir. The piano
and cello play an
important part
throughout, making this
piece an excellent choice
for any festival women's
chorus. O sweet
everlasting Voices, be
still;Go to the guards of
the heavenly foldAnd bid
them wander obeying your
will,Flame under flame,
till Time be no more;Have
you not heard that our
hearts are old,That you
call in birds, in wind on
the hill,In shaken
boughs, in tide on the
shore?O sweet everlasting
Voices, be still.This
SSAA choral work by Jimmy
Baas wascomissioned by
the Lumberton HS Varsity
Treble Choir.The opening
and closing lines of the
poem, “O
sweeteverlasting voices,
be still†provide
the perfect bookendsfor
two larger sections of
the poem. These two
sectionsare equally
divided into verses. The
opening line is usedonce
again as a transition
between the verses.The
previously mentioned
lines, “O sweet
everlastingvoices,â€
are overlapped as
different layers of
voices enterand sustain.
A fifth and sixth voice,
the cello and
pianoaccompaniment take
part in these layers as
well.The words “be
still†are very
much a part of the
moodeach time as the
everlasting voices become
quietand still.The two
verses feature different
voices within the
SSAAchoir. Verse 1, the
sopranos, and verse 2 the
altos. Thereare many
moments in this piece to
explore the full range
andcolor of the SSAA
choir. The piano and
cello play an
importantpart throughout,
making this piece an
excellent choice for
anyfestival
women’s
chorus.
I Thank You, Lord Voix Moyenne [Vocal Score] Hope Publishing Company
Composed by Joseph M. Martin. For medium voice solo (key of C). General Worship,...(+)
Composed by Joseph M.
Martin. For medium voice
solo (key of C). General
Worship, Praise and
Worship, Thanksgiving and
Gratitude. Vocal score. 8
pages. Published by Hope
Publishing Company
Soprano voice, cor anglais, viola, cello and piano (P/ST) - difficult SKU: HL...(+)
Soprano voice, cor
anglais, viola, cello and
piano (P/ST) - difficult
SKU: HL.49033261
Composed by Ekkehard
Jost. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and Parts. Composed
1999. 50 pages. Duration
12'. Schott Music #ED
9740. Published by Schott
Music (HL.49033261).
ISBN 9790001136679.
German.
Ein
Liebespaar, unter deren
Gier der Boden nachgibt
und deren Lust zu
Treibholz wird: dies ist
das Herz von Hans Thills
Gedicht Paradox und
stellt den ersten Moment
der Inspiration fur
Christian Jost dar,
diesem Text musikalische
Gestalt zu verleihen. Die
reduzierte Sprache des
Gedichts, seine surreale
erotische Welt, eroffnet
Raume, in denen Satze zu
Romanen und einzelne
Worter zu endlosen Linien
werden. Kompositorisch
hat dies fur Jost nicht
nur die Moglichkeit
geschaffen, eine
Geschichte hinter der
Geschichte zu erzahlen,
sondern auch jedes
einzelen Wort in Klange
einzuschweissen, deren
Richtung er bestimmt.
Folgerichtig ist demnach
im Text und nicht an ihm
entlang komponiert
worden. Was bedeutet: der
ohnehin zerschnittenen
Sprache wurde eine
weitere Ebene
hinzugefugt, indem die
jeweiligen
Textschwerpunkte in
verschiedene Klangbilder
gefasst wurden, deren
Summe dann die
Dramaturgie des Ganzen
bestimmt hat. Dadurch
haben sich grossere
atmosplarische
Unterschiede und
Spannungen ergeben, als
das sehr lyrische Gedicht
vermuten liesse. So aber
konnte der Komponist eine
Dichte an Ausdruck und
Intensitat entwickeln,
die bereits im Text
enthalten sind, auch wenn
er sich in ein lyrisches
Gewand verkleidet
hat.