Organ solo SKU: CA.1952700 Composed by Various. Edited by Joachim Schwarz...(+)
Organ solo
SKU:
CA.1952700
Composed
by Various. Edited by
Joachim Schwarz. This
edition: Paperbound.
Choral collections.
German title:
Orgel-Begleitsatze.
Collection. 176 pages.
Carus Verlag #CV
19.527/00. Published by
Carus Verlag
(CA.1952700).
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir
SKU:
CF.CM9580
Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol.
The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol.
Voice and piano - easy SKU: M7.ART-42150 20 stilvoll und leicht arrang...(+)
Voice and piano - easy
SKU: M7.ART-42150
20 stilvoll und leicht
arrangierte
Weihnachtslieder.
Arranged by Michael
Gundlach. Sheet music. 40
pages. MDS (Music
Distribution Services)
#ART 42150. Published by
MDS (Music Distribution
Services) (M7.ART-42150).
ISBN
9783866421509.
Mit
'Mein weihnachtliches
Klavieralbum für
Klavier & Gesang'
präsentiert Michael
Gundlach eine Auswahl der
schönsten deutschen
und international
bekannten
Weihnachtslieder aus
verschiedenen
Jahrhunderten. Die 20
ausgesprochen schönen
und einfach gehaltenen
Klavierbearbeitungen zur
Gesangsbegleitung laden
zum gemeinsamen Mitsingen
ein und sind eine
Bereicherung für jedes
besinnliche
Weihnachtsfest.
Piano - intermediate SKU: M7.ART-42149 20 stilvoll und mittelschwer ar...(+)
Piano - intermediate
SKU: M7.ART-42149
20 stilvoll und
mittelschwer arrangierte
Weihnachtslieder.
Arranged by Michael
Gundlach. Score with
online audio files. 72
pages. MDS (Music
Distribution Services)
#ART 42149. Published by
MDS (Music Distribution
Services) (M7.ART-42149).
ISBN
9783866421493.
Mit
'Mein weihnachtliches
Klavieralbum für
Solo-Klavier'
präsentiert Michael
Gundlach eine Auswahl der
schönsten deutschen
und international
bekannten
Weihnachtslieder aus
verschiedenen
Jahrhunderten. Die 20
geschmackvoll und
mittelschwer arrangierten
Solo-Interpretationen
sind bestens geeignet
für den konzertanten
Vortrag und werden
Spieler und Zuhörer
gleichermaßen
begeistern.
Anspruchsvolle
Pianistinnen und
Pianisten kommen hier
ebenfalls voll auf ihre
Kosten. 'Mein
weihnachtliches
Klavieralbum' - eine
Bereicherung für jedes
besinnliche
Weihnachtsfest.
Einfaches Orgelspiel
nach Zahlen. Die
schonsten
Weihnachtslieder. Sehr
leicht gesetzt.
Composed by Hans Enzberg.
Edited by Hans Enzberg.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 32 pages.
Schott Music #ED 7113.
Published by Schott Music
(HL.49006971).
ISBN
9790001074643.
German.
Dieses
Buchlein ist dem
Liebhaber der
einmanualigen Orgel
gewidmet, ist aber auch
fur Keyboard geeignet. Es
gab einige
Gesichtspunkte, weshalb
es geschrieben wurde. Da
ware zunachst einmal der
Spieler, der im
Kindesalter auf moglichst
unkomplizierte Art
Kontakt zur Musik
bekommen mochte.
Vielleicht gelingt es
mir, mit dem vorliegenden
Heft diese Brucke zu
schlagen. Und es gibt den
Jugendlichen, der sich
nicht vorstellen kann,
dass er genugend
Fahigkeit hat, ein
Instrument zu erlernen.
Ihm mochte ich diese
Angst nehmen und Mut
machen. Hat er erst
einmal erkannt, wie
einfach der Umgang mit
Tasten ist, so hat er
gute Chancen, seine
Fahigkeiten an einem
grosseren Instrument
weiter aus zubauen. Auch
fur den vielbeschaftigten
Erwachsenen, der die Zeit
fur den Orgelunterricht
nicht aufbringen kann,
ist dieses Spielheft
gedacht. Die Stucke sind
so einfach geschrieben,
dass er auch ohne Lehrer,
ohne Notenkenntnisse,
ohne Wissen um
Musiktheorie und
Harmonielehre ein Hobby
pflegen kann, das schon
vielen unter uns grosse
Freude gebracht hat.
Lernen Sie also auf
einfachste Weise die
ganze Welt wunderschoner
Melodien kennen. Ich
wunsche dazu viel
Spass.
Christmas Spirit Instrumentation Flexible [Conducteur] - Débutant De Haske Publications
Flexible Band - Grade 1 SKU: BT.DHP-1155674-215 Composed by Robert van Be...(+)
Flexible Band - Grade 1
SKU:
BT.DHP-1155674-215
Composed by Robert van
Beringen. De Haske
Flexible Series. Score
Only. Composed 2015. 8
pages. De Haske
Publications #DHP
1155674-215. Published by
De Haske Publications
(BT.DHP-1155674-215).
Christmas Spirit Instrumentation Flexible [Conducteur et Parties séparées] - Débutant De Haske Publications
Flexible Band - Grade 1 SKU: BT.DHP-1155674-015 Composed by Robert van Be...(+)
Flexible Band - Grade 1
SKU:
BT.DHP-1155674-015
Composed by Robert van
Beringen. De Haske
Flexible Series.
Christmas. Set (Score &
Parts). Composed 2015. De
Haske Publications #DHP
1155674-015. Published by
De Haske Publications
(BT.DHP-1155674-015).
Christmas Carols. Edited by Fritz Emonts. This edition: Saddle stitching....(+)
Christmas Carols.
Edited by Fritz Emonts.
This edition: Saddle
stitching. Sheet music.
Schott. Softcover. 8464.
47 pages. Schott Music
#ED8464. Published by
Schott Music
(HL.49008032).
SATB with ST Soli (Latin Language Edition). Composed by Johann Sebastian Bach (1...(+)
SATB with ST Soli (Latin
Language Edition).
Composed by Johann
Sebastian Bach
(1685-1750). Choral
(Sacred); Choral Worship
Cantata; Larger Works;
Masterworks; Performance
Music Ensemble; Worship
Resources. Kalmus
Edition. Baroque;
Masterwork; Sacred. Book.
48 pages. Kalmus Classic
Edition #00-K06631.
Published by Kalmus
Classic Edition
(Cantata for Christmas). Composed by Johann Sebastian Bach (1685-1750). Edited b...(+)
(Cantata for Christmas).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Ruprecht Langer. For
SSATB choir, ST vocal
soli, 2 flute, 2 oboe, 3
trumpet, timpani, 2
violin, viola, basso
continuo. This edition:
Paperbound. Cantatas,
Christmas. Full score.
Text language:
German/English. BWV 191.
Duration 18 minutes.
Published by Carus Verlag
Composed by Costel Puscoiu. Other Acoustic,Other Acoustic: Pan Flute,Style...(+)
Composed by Costel
Puscoiu.
Other Acoustic,Other
Acoustic: Pan
Flute,Style,Holiday:
Christmas. Book and
Insert
and Online Audio. 56
pages.
Published by Mel Bay
Publications, Inc
Christmas Gloria Chorale SATB SATB [Octavo] Hope Publishing Company
By Allen Pote. For Brass, Timpani. (SATB). Latin Text and Sacred. Print Music S...(+)
By Allen Pote. For Brass,
Timpani. (SATB). Latin
Text and Sacred. Print
Music Single (SATB w/opt.
Brass and Timpani). 12
pages. Published by Hope
Publishing Company.
X-mas for Three Ensemble de cuivres [Conducteur] Gobelin Music Publications
Brass Band - easy SKU: BT.GOB-000561-130 Composed by David Well. Score On...(+)
Brass Band - easy
SKU:
BT.GOB-000561-130
Composed by David Well.
Score Only. 6 pages.
Gobelin Music
Publications #GOB
000561-130. Published by
Gobelin Music
Publications
(BT.GOB-000561-130).
David Well
composed ‘X-mas for
Three’ for three young
pupils of his, who wished
to give a Christmas
concert. He arranged
six well-known Christmas
songs for them, and their
first performance was a
great success. This was
reason for the composer
to adapt the piece for
‘orchestra’ by adding
percussion. The title
has stayed the same, and
the work can still be
played by as few as three
musicians, but as the
saying goes: “The more,
the merrier”!
‘X-mas for Three’
consists of the following
parts : 1. Oh du
fröhliche 2. Kling,
Glöckchen, kling 3.
Gloria in excelsis
deo 4. Joy to the
world! 5. The first
Noel 6. We wish you a
MerryChristmas
David Well
componeerde ‘X-mas for
Three’ voor drie
jeugdige leerlingen die
een Kerstconcert wilden
geven. Hij bewerkte
zes bekende kerstliederen
voor hen en zij oogsten
veel succes met hun
eerste optreden. Dit was
de reden voorde componist
om het stuk geschikt te
maken voor ‘orkest’
en voegde daarom
percussie toe. De
titel is gelijk gebleven
en het stuk kan nog
steeds met z’n drieën
gespeeld worden maar met
meer mag ook en dat is
natuurlijk nog
veelleuker.
‘X-m
as for Three’ bestaat
uit de volgende
delen: 1. Oh du
fröhliche 2. Kling,
Glöckchen, kling 3.
Gloria in excelsis
deo 4. Joy to the
world! 5. The first
Noel 6. We wish you a
MerryChristmas