For Solo Voices, Men's
Chorus (ad lib.) and
Orchestra. Composed
by Charles Villiers
Stanford. BH Large
Choral. Classical,
Contemporary. Boosey &
Hawkes #M060025136.
Published by Boosey &
Hawkes (HL.48009387).
UPC: 073999093872.
9.0x12.0x0.184
inches.
Archive
Edition Choral Parts only
Contents: Drake's Drum *
Outward Bound * Devon, O
Devon * Homeward Bound *
The 'Old Superb'.
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.
Composed by Cortlandt
Matthews. Ordinary Time
20 A. Evoking Sound.
Music Education. Octavo.
8 pages. GIA Publications
#8815. Published by GIA
Publications (GI.G-8815).
UPC: 785147881506.
English, Latin. Text
Source: Romans 11:29,
Latin Vulgate. Scripture:
Romans 11:29.
I
composed this setting in
my last weeks of study at
Westminster Choir
College. The Latin text
(Sine paenitentia enim
sunt dona et vocatio Dei)
translates roughly to
“Truly, without
regret are the gifts and
callings of God.â€
This piece serves not
only as an outward
affirmation for all to
embrace and use their
God-given talents, but
also as an inward mantra
for myself, as I move
into an uncertain period
in my life after
completing my
undergraduate studies.
Many of the colors and
textures found within
this piece were
influenced by my
experience singing with
the Westminster
Williamson Voices for two
years. While the
“sine
paenitentia†text
may allow shades of doubt
to creep in, all
uncertainty and fear is
dispelled upon singing
“sunt dona et
vocatio Dei.â€
—Cortlandt
Matthews Here is an
amazing performance by
The Westminster
Williamson Voices at the
Choral Insititute at
Oxford. Ryan Manni,
Conductor.
For Solo Voices, Men's Chorus (ad lib.) and Orchestra. By Charles Villiers Stanf...(+)
For Solo Voices, Men's
Chorus (ad lib.) and
Orchestra. By Charles
Villiers Stanford.
(Vocal Score). Boosey and
Hawkes Large Choral. Book
only. Size 7.25x10.25
inches. 40 pages.
Published by Boosey &
Hawkes.
Viola SKU: HL.50601600 For Viola Solo Exempla Nova 677. Composed b...(+)
Viola
SKU:
HL.50601600
For
Viola Solo Exempla Nova
677. Composed by
Vassily Lobanov. String.
Classical. Softcover. 6
pages. Sikorski #SIK8877.
Published by Sikorski
(HL.50601600).
8.0x11.75x0.067
inches.
The
“small suite in the
old style†was
created in September
1992. It is not an
outward stylization of
early music, but rather
an attempt to adopt a
kind of Baroque-style
thinking. But since we
are 200 years older, our
thinking is more
reflective. That is, our
C major sounds sadder
today, more nostalgic,
our 6/8 Presto more
desperate than then, and
we do not have the
courage to finish the
work tonally. Something
is not working, although
the sounds are always the
same. And the quote from
Bach's “Chromatic
Fantasy†looks like
a gem; Nevertheless, can
not we already hear
something about our
resignation in this
famous motif? That is, we
remember today Bach's
prophecies, we make, so
to speak, a double time
travel ...
–Vassily
Lobanov.
Performed by Tom Paxton. Guitar/vocal songbook for voice and guitar. With vocal ...(+)
Performed by Tom Paxton.
Guitar/vocal songbook for
voice and guitar. With
vocal melody, lyrics,
chord names, introductory
text and black and white
photos. 142 pages.
Published by Cherry Lane
Music.
I Am the True Vine Chorale SATB SATB divisi, A Cappella MorningStar Music Publishers
Composed by Julian Darius Revie. Easter Season, 21st Century, Commitment/Disc...(+)
Composed by Julian Darius
Revie. Easter Season,
21st
Century,
Commitment/Discipleship,
Communion,
Trust/Guidance.
Duration 2 minutes, 30
seconds. MorningStar
Music
Publishers #50-6121.
Published by MorningStar
Music Publishers
Piano Accompaniment; Violin SKU: HL.50513343 Composed by E. Rubbra. Lengn...(+)
Piano Accompaniment;
Violin
SKU:
HL.50513343
Composed
by E. Rubbra. Lengnick
Publishing. Classical.
Book Only. Alfred
Lengnick & Co #AL0855.
Published by Alfred
Lengnick & Co
(HL.50513343).
The Concerto
for Violin and Orchestra
Op.103 was written in
1958 and is yet another
superb orchestral work by
Edmund Rubbra. Typically,
this is a work that calls
more on musicality than
on virtuosity, although
Rubbra knew the violin
well for having long
partnered his wife and
for having long played in
a trio with William
Pleeth. Rubbra's
familiarity with the
instrument certainly
helped him avoiding
technical 'tricks' and
concentrating his
creative energies more on
an inward-looking solo
part than an
outward-dashing virtuosic
one!
This is an
arrangement for Solo
Violin with Piano
Accompaniment. The solo
violin part is also
included on a separate
insert.
Concert
Band, Grade 4 8:30
Score. Composed by
Otto M. Schwarz.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 510
seconds. Hal Leonard
#SDP165-22-01. Published
by Hal Leonard
(HL.4008944).
UPC:
196288281719.
What
are the true qualities of
a person? Outward beauty
or inner values? Or
perhaps a balance of the
two? This question has
probably been posed by
everyone at some time or
another, and the answer
is as challenging as it
is subjective. This is
also the theme of this
work. The poet and
soldier Cyrano de
Bergerac is known for his
big nose and his great
intellect. The 17th
century novelist harbours
feelings for the
beautiful Roxane but is
sure that this love will
never be reciprocated.
Roxane herself falls in
love with the cadet
Christian de Neuvillette,
who is certainly handsome
but could be described as
stupid. Cyrano de
Bergerac writes love
poems on behalf of
Christian to win
Roxanes heart. And then
there is the Count
Guiche, who is married
but also wants to make
her is mistress.
Christian and Roxane
eventually marry and the
furious Count Guiche
sends Christian and
Cyrano, who serve
together in the Captains
of Gascony regiment, to
the front and, some
months later, on a
suicide mission. Shortly
before the battle, Roxane
confesses to her husband
that she no longer loves
him so much for his
beauty as for his inner
values. Christian is
dismayed and begs Cyrano
to tell Roxane the truth,
but he cant bring
himself to do so.
Christian de Neuvillette
dies in battle and Cyrano
de Bergerac remains
silent about the true
provenance of the
letters. Only much later
does the truth come to
light: scarred by the
war, Cyrano visits Roxane
in the convent where she
has been living since
Christians death and
confesses his love for
her. He ultimately dies
in Roxanes arms.
Composed by Tim Knight (1959-). For unison voices with descant, organ. Easy anth...(+)
Composed by Tim Knight
(1959-). For unison
voices with descant,
organ. Easy anthem for
Confirmation or
Pentecost. Pentecost,
Confirmation, Ordination.
Octavo. Published by
CanticaNOVA Publications
Concert
Band, Grade 4 8:30 Score
and Parts. Composed
by Otto M. Schwarz.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 510
seconds. Hal Leonard
#SDP165-22-02. Published
by Hal Leonard
(HL.4008943).
UPC:
196288281702.
What
are the true qualities of
a person? Outward beauty
or inner values? Or
perhaps a balance of the
two? This question has
probably been posed by
everyone at some time or
another, and the answer
is as challenging as it
is subjective. This is
also the theme of this
work. The poet and
soldier Cyrano de
Bergerac is known for his
big nose and his great
intellect. The 17th
century novelist harbours
feelings for the
beautiful Roxane but is
sure that this love will
never be reciprocated.
Roxane herself falls in
love with the cadet
Christian de Neuvillette,
who is certainly handsome
but could be described as
stupid. Cyrano de
Bergerac writes love
poems on behalf of
Christian to win
Roxanes heart. And then
there is the Count
Guiche, who is married
but also wants to make
her is mistress.
Christian and Roxane
eventually marry and the
furious Count Guiche
sends Christian and
Cyrano, who serve
together in the Captains
of Gascony regiment, to
the front and, some
months later, on a
suicide mission. Shortly
before the battle, Roxane
confesses to her husband
that she no longer loves
him so much for his
beauty as for his inner
values. Christian is
dismayed and begs Cyrano
to tell Roxane the truth,
but he cant bring
himself to do so.
Christian de Neuvillette
dies in battle and Cyrano
de Bergerac remains
silent about the true
provenance of the
letters. Only much later
does the truth come to
light: scarred by the
war, Cyrano visits Roxane
in the convent where she
has been living since
Christians death and
confesses his love for
her. He ultimately dies
in Roxanes arms.
Piano - Primer SKU: KJ.WP470 Composed by Lisa Bastien and Lori Bastien. P...(+)
Piano - Primer
SKU:
KJ.WP470
Composed by
Lisa Bastien and Lori
Bastien. Piano/Technique.
Bastien Essentials:
Technic Classics. Neil A.
Kjos Music Company
#WP470. Published by Neil
A. Kjos Music Company
(KJ.WP470).
ISBN
9780849799129.
Matc
hes method series in
which students learn
notes from middle-C
outward on the grand
staff. Gives focus to
lifting from the keys led
by the wrists as well as
shifting arm weight from
one finger to the next.
Playing melodic intervals
and selected harmonic
intervals (2nds, 3rds,
5ths) with the building
blocks necessary for
playing two- and
three-note chords.
Various note naming
exercises are also
included. Beautifully
illustrated. A total of
26 exercises on 32
pages.
Choir (SATB) - advanced to difficult SKU: HL.49045044 For Chamber Choi...(+)
Choir (SATB) - advanced
to difficult
SKU:
HL.49045044
For
Chamber Choir SATB.
Composed by Huw Watkins.
This edition: Saddle
stitching. Sheet music.
Choral. Classical.
Octavo. Composed 2014. 16
pages. Duration 6'.
Schott Music #ED 13630.
Published by Schott Music
(HL.49045044).
ISBN
9790220134760. UPC:
841886022126.
9.0x12.0x0.08 inches.
English.
The
Phoenix and the Turtle
sets a poem by
Shakespeare published
1601 that uses the
metaphor of a bird's
funeral to describe the
death of an idealistic
love. Watkins spins out a
jazzy melody surrounded
by close harmonies using
the text to create a
lively, rhythmic opening.
The textures and rhythms
settle into homophonic
movement as the chords
open ever outward in a
slower middle section,
before resolving onto a
solemn ending in
unison.
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In ...(+)
Violoncello - Level 5
SKU: BA.BA11071
Composed by Matthias
Pintscher. In a folder.
Part II of the cycle
Profiles of Light.
Performance score.
Composed 2015. 4 pages.
Baerenreiter Verlag
#BA11071_00. Published by
Baerenreiter Verlag
(BA.BA11071).
ISBN
9790006562015. 42 x 29.7
cm
inches.
“Now
II†is the second
part of a triptych of
chamber pieces entitled
“Profiles of
Lightâ€. The first
part is written for solo
piano (Now I, BA 11073),
the second for
unaccompanied cello. The
two instruments are then
combined in the
concluding third part,
Uriel (BA
11013).
All three
pieces were inspired by
the Abstract
Expressionist paintings
of the American artist
Barnett Newman. Newman's
work has had a formative
impact on Matthias
Pintscher's artistic
philosophy: what does it
mean to reduce things to
essentials while seeking
maximum immediacy of
expression? Several of
Newman's paintings have a
radiant light of uncommon
intensity, yet resembling
a dark illumination. The
same sort of thing is
found in the late works
of Franz Schubert, where
a comparable profundity
and retrospective
yearning likewise shine
through the surface of
even the brightest
tonalities.
This
is a piece about
resonances, about the
inward and outward givens
of existence, about life
itself: 'I find the cello
a highly suitable
instrument for depicting
such existential
conditions'.
Piano, viola duet SKU: GH.GE-11866 For Viola and Piano. Composed b...(+)
Piano, viola duet
SKU:
GH.GE-11866
For
Viola and Piano.
Composed by Fredrik
Sixten. An expressive
piece, with both mournful
dirge and passionate
exclamations. Duration 3
minutes. Gehrmans
Musikforlag #GE 11866.
Published by Gehrmans
Musikforlag
(GH.GE-11866).
ISBN
979-0-070-11866-8. A4
inches.
Mesto is
Italian and means sad.
The work begins, after a
short piano introduction,
softly - like a mournful
dirge. A solo cadence
builds up towards a more
outward-looking and
passionate exclamation,
and then the music takes
a more romantic turn and
fades away into the
distance.
Concerto Violon et Piano SATB, Orchestre Alfred Lengnick
Violin and Piano SKU: BT.AL-0855 Composed by Edmund Rubbra. Book Only. 62...(+)
Violin and Piano
SKU:
BT.AL-0855
Composed
by Edmund Rubbra. Book
Only. 62 pages. Alfred
Lengnick & Co #AL 0855.
Published by Alfred
Lengnick & Co
(BT.AL-0855).
English.
The
Concerto for Violin
and Orchestra Op.103
was written in 1958 and
is yet another superb
orchestral work by Edmund
Rubbra. Typically, this
is a work that calls more
on musicality than on
virtuosity, although
Rubbra knewthe violin
well for having long
partnered his wife and
for having long played in
a trio with William
Pleeth. Rubbra's
familiarity with the
instrument certainly
helped him avoiding
technical
‘tricks’ and
concentrating his
creativeenergies more on
an inward-looking solo
part than an
outward-dashing virtuosic
one!
This is an
arrangement for Solo
Violin with Piano
Accompaniment. The solo
violin part is also
included on a separate
insert.
Mixed choir SKU: FG.55011-355-5 Composed by Matthew Whittall. Score. Fenn...(+)
Mixed choir
SKU:
FG.55011-355-5
Composed by Matthew
Whittall. Score. Fennica
Gehrman #55011-355-5.
Published by Fennica
Gehrman (FG.55011-355-5).
Asked to
contribute a carol to the
already rich Finnish
Christmas repertoire,
music I've sung myself
for many years, I was
very aware of the things
that mark the season for
my adopted countrymen:
peace, stillness, the
cold landscape and home.
When I came across Ester
Ahokainen's gentle poem,
so focused around these
images, it seemed like
providence. The resulting
song is modest and warmly
modal, departing only a
little from Finnish
tradition: a lingering
dissonance here, a moment
of quiet sentiment held
slightly longer expected
there. Like the words,
the music opens outward
in thanks at the end.
Aattoilta was composed
for the Helsinki Chamber
Choir Christmas CD
recording, and is
dedicated to them.