For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover. 696 pages. Published by Hal Leonard

645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. Softcover. 696 pages. Published by Hal Leonard

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

(Artist Level). Composed by Travis J. Cross. For Concert Band, Symphonic Band (Score). Boosey & Hawkes Concert Band. Grade 5. 24 pages. Boosey & Hawkes #M051662906. Published by Boosey & Hawkes

Composed by Travis J. Cross. Windependence Artist Level. Festival, Concert. Softcover. Boosey & Hawkes #M051662890. Published by Boosey & Hawkes (HL.48022564).

SATB choir, piano

SKU: S2.10-5010SF

Composed by Lloyd Larson. Choral. Sacred Anthem, Festival Sundays, General. Octavo. SoundForth #10/5010SF. Published by SoundForth (S2.10-5010SF).

ISBN 9781429136037.

Comm issioned by a church in Norwalk, Ohio, this piece has already brought great joy and blessings to singers and listeners. It opens with a stately instrumental fanfare that combines with the voices to proclaim a resounding praise to God who reigns above!

Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 best-loved Christian hymns that have inspired praise and worship for over four centuries. Series: Piano Treasury Series. 392 pages. Published by Music Sales.

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'.

Organ - advanced

SKU: HL.49045437

For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (HL.49045437).

ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.

On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.

C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 464 pages. Published by Hal Leonard.

By Robert White. Arranged by Sally Dunkley. For SSATB choir, a cappella. This edition: MDD. Mixed Voices. Musica dei Donum. Sacred Choral Leaflet. Vocal score. Duration 21'

By Pamela Cooper Bye. For piano/vocal. SongBook. Sacred. Book. 148 pages. Published by Mel Bay Publications, Inc.
Level: Intermediate.

By Carl F. Schalk. For Voices: Unison, some various. Keyboard accompaniment. Coll; Hymnl Sacred. Level: easy. 95 pages. Published by GIA Publications.

Unison/2-part children's choir, piano accompaniment - Easy

SKU: WD.080689438776

Composed by Spencer Dalton. Arranged by Spencer and Preston Dalton. Choral, cantatas. Simply WordKidz. Christmas. Bulletins (100-pak). Duration ca. 27 minutes. Word Music #080689438776. Published by Word Music (WD.080689438776).

UPC: 080689438776.

Ginge r Breadhouse, Carolyn Bells, Holly Branch, Candy Cane, Mary, and...Ned, Ted and Jed! These are a few of the names to be found among the cast of the new Simply WordKidz Christmas musical, The Christmas Cross! Created by Jeff Slaughter, with tracks produced and arranged by the team of Preston and Spencer Dalton, The Christmas Cross is a super-easy-to-learn, 27-minute musical designed to help you celebrate the season with the perfect setting for your kids choir!

In the opening scene, Miss Carolyn Bells, our children's choir director, is leading the kids through their first rehearsal for this year's Christmas Extravaganza. As they begin to share their thoughts on Christmas, the heart of the story comes to the forefront as Mary begins to tell everyone about the Christmas Cross - a very special ornament with special significance - an heirloom, handed down by her grandmother. As she explains the meaning behind the ornament...You can't have Christmas without the Cross..., this fun, lighthearted musical is beautifully and simply transformed into a powerful message about the love of God and the message of the Gospel.

Full of great new songs, in tandem with traditional carols and a humor-filled, Biblically-sound script, The Christmas Cross highlights Jeff Slaughter's signature brand of creativity. And, for the first time, he brings his unique style and infectious spirit to the Simply WordKidz Series, a fresh line of EZ-to-Sing-EZ-to-Perform musicals designed for both excellence and accessibility by the smallest of choirs, or for choirs with little rehearsal time. Bring an extra dose of Christmas cheer to your performance through the use of the production-enhancing DVD Accompaniment Track available, from WordKidz.

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pages. Published by Hal Leonard.

Percussion solo

SKU: BR.DV-8173

Composed by Karl Ottomar Treibmann. Solo instruments; Softcover. Deutscher Verlag. World premiere Leipzig, 1980. Music post-1945. Score. Composed 1979. 30 pages. Duration 10'. Deutscher Verlag fur Musik #DV 8173. Published by Deutscher Verlag fur Musik (BR.DV-8173).

ISBN 9790200480832. 9 x 12 inches.

World premiere Leipzig, 1980

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'.

(Complete Lyrics for 200 Songs) Format: lyric book (contains no music). With lyrics. Broadway. 234 pages. 6x9 inches. Published by Hal Leonard.

Orchestra Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe, Percussion, Timpani, Trumpet 1, Trumpet 2, Trumpet 3, Viola, Violin 1, Violin 2, Violoncello

SKU: CF.SC89L

Seven Little Pieces. Composed by William Grant Still. Large Score. 36 pages. Duration 12 minutes. Carl Fischer Music #SC89L. Published by Carl Fischer Music (CF.SC89L).

William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: Li’l Scamp If one were to base his judgment on the volume of sound, he would think this little fellow, who delights in playing childish pranks, a big scamp. But the aptness of the title is determined by the brevity of the piece rather than by the volume of sound. Honeysuckle A musical suggestion of the saccharine odor of the honeysuckle. Dance This title is self-explanatory. Brown GirlA tone picture of a lovely girl. Mah Bones Is Creakin’An old man, afflicted with rheumatism, complains loudly. BlueThe lament of a weary soul. Clap Yo’ Han’sThe participants in a game for children form a circle and clap their hands at intervals.