For All Organs. By Carrie Jacobs-Bond, Charles W. Cadman, Edvard Grieg, Camille ...(+)
For All Organs. By Carrie
Jacobs-Bond, Charles W.
Cadman, Edvard Grieg,
Camille Saint-Saens.
Arranged by Mark Laub.
Text: Charles Cory;
Clement Scott; D.F.
Blomfield; Edward
Teschemacher; Hans
Christian Andersen; Nelle
Richmond Eberhardt. For
Organ. Solo part. 34
pages. Published by
Theodore Presser Company.
SATB chorus and piano SKU: JK.19990 Composed by Janice Kapp Perry. Choral...(+)
SATB chorus and piano
SKU: JK.19990
Composed by Janice Kapp
Perry. Choral General
Conference, Choral SATB,
Difficulty Medium, Piano
Choir, Special Events
Home and Family, Hope,
Jesus Christ - Savior.
Christian, Inspirational.
Jackman Music Corporation
#19990. Published by
Jackman Music Corporation
(JK.19990).
Hebrews
9:28, John 14:6*** Some
Janice Kapp Perry
products may require a
few days additional
shipping time. Thank
you!
46 new hymns,
inspired by the General
Conference addresses of
Elder Jeffry R. Holland.
(October 1994 - April
2017). Collection
includes: All Ye Who
Watch the Master's
Sheep Are the Heavens
Truly Open? Are We
Not All Beggars? As
an Ensign to the
Nations A Sinless,
Pure and Holy Man Be
Clean, Oh House of
Israel Be Not Afraid,
But Be Believing
Bless Me to Be a Little
More Like Thee Do You
Love Me? Christ Can
Heal the Broken
Hearted ever We'll
Remember For God
Loves Us With All His
Heart For God So
Loved the World God
Has Raised Up Noble
Daughters God will
Never Leave the Weary
He Will Bring Rest to
Your Soul His More
Excellent Way Holy
Father, King of
Heaven How Fair Upon
the Mountain I Am a
Child of Destiny I
Bear My Witness of the
Lord In Heaven There
Is a Law Inviting All
to Come to Christ I
Testify I Would Be
Thy True Disciple let
Not Your Heart Be
Troubled Let Thy Word
Be In Our Hearts
Lord, Accept My Humble
Offering Lord, I
Believe Lord, I'll
Strive to Live Worthy of
Thy Love Lord, We
Pray For All the
Children May We Have
the Tongues of Angels
My Life is Not My Own
None Were With Him Oh
Come Ye Heavy Laden
Come Our Faith Unites
Us With One Heart The
Keys of the Kingdom
The Love of God Is
Without End The
Mother of All Living
The Words of God Will
Never Cease The Worth
of Souls Is Great
Indeed Through a
Thousand Generations
To the Rising
Generation Who Will
Now Speak For the
Widow? Wilt Thou,
Lord, In Me Abide You
Can Always Come Back
Home Composer: Janice
Kapp Perry Lyricist:
David B.
Larsen Reference:
Hebrews 9:28, John
14:6 *** Some Janice
Kapp Perry products may
require a few days
additional shipping time.
Thank you!
2006. Composed by
Roxanna Panufnik.
Contemporary Medium
Ensemble. Edition Peters.
Modern. Score. 62 pages.
Duration 20 minutes.
Edition Peters
#98-EP71816A. Published
by Edition Peters
(PE.EP71816A).
ISBN
9790577020402. 420 x
297mm inches. English.
Rumi Rumi; translation by
Andrew
Harvey.
Love
Abide encapsulates
the very contemporary
ethos of multicultural
spiritual devotion in a
world populated by a rich
diversity of faiths--all
feeling, as deeply and as
aesthetically, the
compelling potency of
music with love.
A rich offering
on a theme of interfaith
connectivity. The
Japanese lullaby-inspired
Zen Love Song and the
title work Love Abide are
totally
absorbing.
BBC
Music Magazine, 5
stars
With its
outspoken positive
approach, Love Abide is
like a musical bouquet of
healing herbs. Roxana
Panufnuik's beautifully
crafted music is
inventive and truly
enjoyable. The Colla Voce
Singers produce singing
of exceptional quality,
with impressive control
and a very good balance.
Remy Franck,
www.pizzicato.lu, 5
stars
If I had to
choose a
'glass-half-full'
contemporary composer,
then Roxanna Panufnik
would be near the top of
my list. Her Music exudes
openness and inclusivity,
and it is in the choral
settings where hope and
positivity - two words
that lie at the heart of
her work - are most
keenly felt. ... much of
her recent work can be
seen to be built on the
solid foundations laid
down on this impressively
varied and diverse
collection. A music of
hope in dark and troubled
times.
Pwyll ap
Sion, Gramophone
Magazine.
This product is Printed
on Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
P/A CD and Split-Track CD SKU: HP.C6193C Performance/Accompanim ent CD...(+)
P/A CD and Split-Track CD
SKU: HP.C6193C
Performance/Accompanim
ent CD with Split
Tracks. Composed by
John Wimber. Arranged by
Thomas Fettke. Rhythm
parts: Piano, acoustic
guitar, electric bass,
and synth. Choral
Performance/Accompaniment
CDs. Hope Publishing
Company #C6193C.
Published by Hope
Publishing Company
(HP.C6193C).
UPC:
763628961930. John
Wimber. Psalm 28:2, Psalm
63:4, Psalm 103:5, Psalm
107:9, Psalm 147:14,
Matthew 3:16, Matthew
11:28-30, Mark 1:10, Luke
3:22, John 1:32, John
4:7-15, John 6:37-51,
John 7:37-39, John
10:1-10, Acts
2.
Popular
contemporary song by
Chris Tomlin, Ed
Cash & Matt
Redman Taking its
root from the old gospel
hymn, this popular,
contemporary version
lilts in joyful 6/8
rhythm that truly makes
you want to sing along!
The underlying message
reminds the listener that
in any circumstance of
life, there is always
music and singing because
I am loved by the King,
and it makes my heart
want to sing!.
Choral (Brass, Guitar, Piano, Rhythm) SKU: HP.C6193 Composed by Chris Tom...(+)
Choral (Brass, Guitar,
Piano, Rhythm)
SKU:
HP.C6193
Composed by
Chris Tomlin, Ed Cash,
and Matt Redman. Arranged
by Mary McDonald. Rhythm
parts: Piano, acoustic
guitar, electric bass,
and synth. Contemporary,
Praise & Worship, Music &
Singing, General Worship,
Assurance, Comfort,
Confidence, Hope, Jesus
Christ - King & Lord,
Jesus Christ - Savior,
Joy, New Life in Christ,
Praise to Christ. Octavo.
12 pages. Hope Publishing
Company #C6193. Published
by Hope Publishing
Company (HP.C6193).
UPC: 763628161934. By
Chris Tomlin, Ed Cash &
Matt Redman. Psalm 42:8,
Psalm 118:22, Numbers
20:1-13.
Popular
contemporary song by
Chris Tomlin, Ed
Cash & Matt
Redman Taking its
root from the old gospel
hymn, this popular,
contemporary version
lilts in joyful 6/8
rhythm that truly makes
you want to sing along!
The underlying message
reminds the listener that
in any circumstance of
life, there is always
music and singing because
I am loved by the King,
and it makes my heart
want to sing!.
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Gospel Harp Harmonica [Partition] - Intermédiaire Mel Bay
By Phil Duncan. By Phil Duncan. For Harmonica (All). Solos. Gospel-old time. Lev...(+)
By Phil Duncan. By Phil
Duncan. For Harmonica
(All). Solos. Gospel-old
time. Level:
Intermediate. Book. 112
pages. Published by Mel
Bay Publications, Inc.
Choral (SATB) SKU: HL.1197742 Arranged by Brent Wells. Gentry Publication...(+)
Choral (SATB)
SKU:
HL.1197742
Arranged
by Brent Wells. Gentry
Publications. Octavo. 12
pages. Duration 300
seconds. Gentry
Publications #JG2622.
Published by Gentry
Publications
(HL.1197742).
UPC:
196288134732.
6.75x10.5x0.029
inches.
Here is
something truly different
- Brent Wells' new
arrangement of the
Chinese folk song Ao bao
Xiang Hui, “Let Us
Meet at the Aobao.â€
The arrangement begins
with a brief choral
introduction, where the
Erhu (violin) presents
the melody of the folk
song, complete with
traditional
ornamentation. The tenor
and bass verse recounts
the story of a young man
who goes to the aobao,
only to find that his
true love is not there.
The sopranos and altos
answer, giving voice to
her reassuring words:
“If you wait
patiently, I will run to
your side.â€
Finally, they find one
another - and under the
clear moonlit sky, sing
together. Your singers
will enjoy the challenge
of a different language,
presented in the setting
of a charming love story.
High school, college, and
festival choirs will
savor learning and
performing this unusual
piece.
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, ...(+)
SATB choir, assembly,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, horn in f, trombone,
tuba, percussion - Early
intermediate
Arranged by Dan Forrest.
Christmastide, Christmas
Vigil, Christmas Night,
Christmas Dawn, Christmas
Day. Music from
Westminster,Westminster
Choir. Tune Name: The
First Nowell. Music
Education. Octavo. 12
pages. GIA Publications
#8720. Published by GIA
Publications
Praise
Gathering Choral. Easter.
Softcover. 120 pages.
Duration 2700 seconds.
PraiseGathering #A08443.
Published by
PraiseGathering
(HL.2050293).
UPC:
797242885594.
6.75x10.5x0.351
inches.
The truly
blessed are those that
can see the miraculous in
what others see as
mundane. Even more so are
those that never lose the
wonder of the awesome
impact of the sacred. It
is part of our nature to
allow the most wonderful
things in our lives to
seem commonplace at times
- to take tremendous
blessings for granted.
King David's prayer,
“Restore to me the joy
of Your salvation and
grant me a willing spirit
to sustain me.” (Psalm
51:12) speaks to us in
the times and seasons of
our own lives.This
musical is about the
importance of
remembering. On the eve
of His trial and
execution Jesus made it
clear that we were to
remember Him and His
sacrifice. He instituted
the sacrament of the Last
Supper to be a central
part of the Christian
faith - a time to gather
as His Body and
remember.We cannot stand
in the distance and
casually observe the
sacrifice of the Cross.
We cannot pretend it did
not happen - that it is
less than it is
proclaimed to be - that
it does not touch us or
our lives. The Cross is
not something that we get
used to - not something
that we can get
comfortable with - not
something that we can
ever take lightly.Jesus
Christ, the Son of God,
by His own choice died
nailed to a Cross for the
sins that you and I
committed. May we never
forget His sacrifice, may
we never fail to fall to
our knees in thanksgiving
for that kind of love,
may we never lose the
wonder - the wonder of
the Cross.
Chamber Music Clarinet Trio SKU: PR.114424090 Composed by Igor Stravinsky...(+)
Chamber Music Clarinet
Trio
SKU:
PR.114424090
Composed
by Igor Stravinsky.
Arranged by Gregory
Barrett. Set of Score and
Parts. 8+16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-42409. Published by
Theodore Presser Company
(PR.114424090).
ISBN
9781491137383. UPC:
680160690107.
Strav
insky’s 1918 Three
Pieces for Solo Clarinet
has long been savored by
clarinetists as a rare
gem in the
instrument’s
repertory, full of
rhythmic drive and
Stravinsky’s jazzy
neo-classicism. Composer
and clarinetist Gregory
M. Barrett’s
remarkable adaptation for
3 clarinets is a tour de
force, assimilating
Stravinsky’s
harmonic, rhythmic, and
contrapuntal style to
create a striking
addition to the clarinet
literature. Igor
Stravinsky’s Three
Pieces for Solo Clarinet
(1918) is a core work in
clarinetists’
repertoire, and I
havereimagined it for the
convivial grouping of
three players. The
arrangement contains all
of
Stravinsky’sorigin
al, but now his solo line
is shared among three in
a new matrix of harmony,
imitation,
andcounterpoint.The molto
tranquillo first piece
develops from the
emphasized C# in
Stravinsky’s first
measure andmoves to a
somewhat somber mood when
C# is revealed to be the
dominant of F# minor.
Withincreasing expansion
of tessitura in the
sustained harmonies, the
sun comes out in the last
phrase with ajoyous Eb
major chord.The
circus-like second piece
finds the three clarinets
whirling in the air in
synchronized trapeze
artiststyle. The emphasis
is on imitation and fluid
hand-offs. Chords with
major 7ths and 2nds
contrast withtriadic
harmony. Following the
cat and mouse middle
section, where dancing
patterns of twos
andthrees alternate, the
summit of the big top is
reached again just before
the players settle down
to earthwith a welcome C
major chord of
respite.The ragtime
burlesque of
Stravinsky’s third
piece is heightened by
homophonic rhythm among
the threeplayers. Each
clarinet part has its own
specialty. Clarinet 1
loves 32nd notes,
Clarinet 2 shows off with
fasttriplets, and
Clarinet 3 likes the low
notes and in general
supporting its friends.
Quartal harmony
withstacked 4ths is
emphasized, but where
Stravinsky’s
melody suggests triads, I
have taken his hint.
Thepropulsive rhythms are
truly exciting, and with
the wink of an eye, the
music ends all too
soon.