| Now Is the Time of Christmas Chorale 3 parties SAB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on
a 16th century English
carol, music by Jay
Althouse. Choir Secular.
3-Part Mixed Choir (SAB).
Choral Octavo. Choral
Designs. Christmas;
Winter. 12 pages
$1.75 $1.6625 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Now Is the Time of Christmas Chorale SATB SATB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on
a 16th century English
carol, music by Jay
Althouse. Choir Secular.
Women's Choir. Choral
Octavo. Choral Designs.
Christmas; Winter. 12
pages
$1.75 $1.6625 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Now Is the Time of Christmas Chorale SATB SATB [Octavo] Alfred Publishing
By Jay Althouse, based on a 16th century English carol, music by Jay Althouse. C...(+)
By Jay Althouse, based on
a 16th century English
carol, music by Jay
Althouse. Choir Secular.
SATB choir. Choral
Octavo. Choral Designs.
Christmas; Winter. 12
pages
$1.75 $1.6625 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guitar Music from the 16th-18th Century Guitare [Conducteur] Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32095 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU:
BR.DV-32095 Composed
by Adalbert Quadt. Edited
by Adalbert Quadt. Solo
instruments; Softbound.
Deutscher Verlag.
Baroque; Early classical.
Score. 64 pages.
Deutscher Verlag fur
Musik #DV 32095.
Published by Deutscher
Verlag fur Musik
(BR.DV-32095). ISBN
9790200426403. 9 x 12
inches. The guitar
is of oriental orgin. lt
had reached Spain by the
8th century, presumably
via the Arabs, and from
there, like the lute, it
spread through the rest
of Europe. Over the
centuries the guitar was
further developed into an
instrument with four
courses of strings - this
is evident from
early-16th-century
tablature-books, the
earliest known. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitare [Conducteur] Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32004 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU:
BR.DV-32004 Composed
by Adalbert Quadt. Edited
by Adalbert Quadt. Solo
instruments; Softbound.
Deutscher Verlag.
Baroque; Early classical.
Score. 68 pages.
Deutscher Verlag fur
Musik #DV 32004.
Published by Deutscher
Verlag fur Musik
(BR.DV-32004). ISBN
9790200425024. 9 x 12
inches. The guitar
is of oriental orgin. lt
had reached Spain by the
8th century, presumably
via the Arabs, and from
there, like the lute, it
spread through the rest
of Europe. Over the
centuries the guitar was
further developed into an
instrument with four
courses of strings - this
is evident from
early-16th-century
tablature-books, the
earliest known. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitare [Conducteur] Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32060 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU:
BR.DV-32060 Composed
by Adalbert Quadt. Edited
by Adalbert Quadt. Solo
instruments; Softbound.
Deutscher Verlag.
Baroque; Early classical.
Score. 72 pages.
Deutscher Verlag fur
Musik #DV 32060.
Published by Deutscher
Verlag fur Musik
(BR.DV-32060). ISBN
9790200425826. 8.5 x 11.5
inches. The guitar
is of oriental orgin. lt
had reached Spain by the
8th century, presumably
via the Arabs, and from
there, like the lute, it
spread through the rest
of Europe. Over the
centuries the guitar was
further developed into an
instrument with four
courses of strings - this
is evident from
early-16th-century
tablature-books, the
earliest known. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guitar Music from the 16th-18th Century Guitare [Conducteur] Deutscher Verlag für Musik
Guitar solo SKU: BR.DV-32023 Composed by Adalbert Quadt. Edited by Adalbe...(+)
Guitar solo SKU:
BR.DV-32023 Composed
by Adalbert Quadt. Edited
by Adalbert Quadt. Solo
instruments; Softbound.
Deutscher Verlag.
Baroque; Early classical.
Score. 76 pages.
Deutscher Verlag fur
Musik #DV 32023.
Published by Deutscher
Verlag fur Musik
(BR.DV-32023). ISBN
9790200425109. 9 x 12
inches. The guitar
is of oriental orgin. lt
had reached Spain by the
8th century, presumably
via the Arabs, and from
there, like the lute, it
spread through the rest
of Europe. Over the
centuries the guitar was
further developed into an
instrument with four
courses of strings - this
is evident from
early-16th-century
tablature-books, the
earliest known. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Motets from the 16th Century Chorale SATB Wilhelm Hansen
Choral (SATB) SKU: HL.14030971 (Motetter Og Lauder). Music Sales A...(+)
Choral (SATB) SKU:
HL.14030971
(Motetter Og
Lauder). Music Sales
America. A Cappella,
Classical, Latin, Motet.
Book [Softcover]. 20
pages. Edition Wilhelm
Hansen #WH26882.
Published by Edition
Wilhelm Hansen
(HL.14030971). ISBN
9788759854402.
7.0x10.25x0.084
inches. A wonderful
selection of motets from
the 16th century which
are suitable for SATB a
capella. $3.95 - Voir plus => Acheter | | |
| Guitar Music of the 16th Century Guitare [Partition + Accès audio] Mel Bay
Composed by Keith Calmes. Editiones Classicae. Renaissance. Book and online audi...(+)
Composed by Keith Calmes.
Editiones Classicae.
Renaissance. Book and
online audio. 294 pages.
Published by Mel Bay
Publications, Inc
(MB.95375M).
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lute Dances, 16th Century, Guitar Guitare Universal Edition
Lute Dances, 16th Century, Guitar by Cesare Negri (1536-1604). Standard notation...(+)
Lute Dances, 16th
Century, Guitar by Cesare
Negri (1536-1604).
Standard notation.
Published by Universal
Edition
$17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Si lo dicen, digan (from POEMAS DE AMOR) Chorale SSAATTBB Subito Music
SSAATTBB Chorus & Percussion SKU: SU.80400490 For SSAATTBB Chorus & Pe...(+)
SSAATTBB Chorus &
Percussion SKU:
SU.80400490 For
SSAATTBB Chorus &
Percussion. Composed
by Stephen Paulus.
Vocal/Choral, Secular
Choral. Accompanied by
percussion. Choral
Octavo. Subito Music
Corporation #80400490.
Published by Subito Music
Corporation
(SU.80400490).
SSAATTBB Chorus
& Percussion Duration:
6:00Commissioned by:
ConspirareDedication:
Crossing the Divide:
Exploring Influence and
Finding Our Voice
Premiered by: January 27,
2007, Conspirare, Craig
Hella Johnson, conductor,
St. Matthew's Episcopal
Church, American Music
Festival, Austin, TX
Copyright 2006Text
author: 16th century
spanish,
anonymousPublished by:
Paulus Publications
(SP487-4) Minimum order
quantity: 8 copies. To
order quantities fewer
than 8. $2.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Coventry Carol Chorale SATB SATB, Clavier [Octavo] MorningStar Music Publishers
(Lully, Lullay). Composed by Hal H. Hopson. For SATB choir, solo voice or small ...(+)
(Lully, Lullay). Composed
by Hal H. Hopson. For
SATB choir, solo voice or
small ensemble, keyboard
(organ or piano).
Christmas, 21st Century.
Moderately Easy. Octavo.
Text Language: English.
Published by MorningStar
Music Publishers
$1.70 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 122 Bicinia from the 16th century EMB (Editio Musica Budapest)
Voice a Cappella SKU: BT.EMBZ14732 Compiled and edited by Soós Andr...(+)
Voice a Cappella SKU:
BT.EMBZ14732
Compiled and edited by
Soós András.
Classical. Book Only.
Composed 2012. 80 pages.
Editio Musica Budapest
#EMBZ14732. Published by
Editio Musica Budapest
(BT.EMBZ14732).
Hungarian-English-Germ
an-French. This
collection, similarly to
the publication entitled
111 bicinia from the 15th
century (EMB 14478),
contains longer and
shorter two-part excerpts
from polyphonic
ecclesiastical choral
works, for pedagogical
and liturgical use. As
teaching material, on the
one hand it introduces
and notes in brief
textual definitions the
characteristics of each
given excerpt: on the
other hand, it provides
easily usable examples
for teaching music
history, solfege and
counterpoint (practice of
intervals, score-reading,
dictation, stylistic
exercises, etc.) At the
same time the movements,
which also function as
independent units, can be
quickly learnt, and may
on occasions add colour
to themusical palette of
the liturgy by
introducing material that
can be performed even by
a children's choir. The
volume consists mainly of
excerpts taken from Mass
movements and Magnificats
by Palestrina, Lassus,
Gombert, Clemens non Papa
and others. A separate
chapter is devoted to
chorale-based bicinia in
German, which were
already popular in the
initial period of
Evangelical church music.
Ähnlich der
Ausgabe 111 Bicinia aus
dem 15. Jahrhundert (EMB
14478) präsentiert
diese Sammlung für
theoretisch- und
praktisch-pädagogische
, bzw. liturgische Zwecke
mehr oder weniger lange
zweistimmige Ausschnitte
aus geistlichen
Chorwerken Sie stellt als
Lehrstoff einerseits die
musikalische
Charakteristika des
jeweiligen Ausschnittes
vor und registriert diese
in kurzen textlichen
Definitionen,
andererseits liefert sie
Beispiele für den
Unterricht der
Musikgeschichte, der
Solfege- und der
Kontrapunkt- Lehre
(Intervallübungen, des
Lesens vom Blatt, für
das Diktieren, für
Stilübung usw.), die
sich leicht erarbeiten
lassen. Gleichzeitig
können die auch als
eigenständige
Einheitfunktionierenden
Sätze schnell erlernt
werden. Sie bereichern
die musikalische Palette
der Liturgie (Messe und
Offizium) mit dem
fallweise auch vom
Kinderchor
aufführbaren
Stoff. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 21st Century Guitar Theory 3 Guitare notes et tablatures [Partition] - Intermédiaire Alfred Publishing
By Sandy Feldstein and Aaron Stang. For Guitar. Guitar Method or Supplement. War...(+)
By Sandy Feldstein and
Aaron Stang. For Guitar.
Guitar Method or
Supplement. Warner Bros.
Publications 21st Century
Guitar Course. Level:
Level 3. Book. 32 pages.
Published by Alfred
Publishing.
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| ARKA - 3 Rituale (Full Score) Voix basse, Piano [Conducteur] Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo
pipa, timpani 4 Pauken, 1
Spieler, percussion,
(Crotali, Glockenspiel,
gr, Trommel,
vibraphonerafon - 1
Spieler), strings (7, 1)
SKU: PE.EP14445
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445). ISBN
9790014135041. 297 x 420
mm inches.
German. ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss. Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte). Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung! Bernd
Franke. Leipzig,
11.10.2019 W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano. - 14
songs for solo
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006 AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything: Every
flame, every fire, every
light, every warmth is
AGNI. AGNI is
omnipresent, establishing
everything and ending
everything. AGNI is
often depicted with seven
tongues which represent
different aspects of his
being. These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming. Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet. This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies. The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer. W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work. Score and
horn
part. - Contempo
rary work for Horn in F
and
piano
- Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010. Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music. - Contemp
orary piece for solo
cello
- Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006 to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006 Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual. This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788 A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'. - Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
- Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
- The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano. - 14
songs for solo high
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of sacred and
secular Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298 for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony. W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind. I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation. The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world. The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello. The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020. Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Silent Night and Gaudete Chorale SSAA Boosey and Hawkes
Female Voices; Tambourine (SSAA a cappella) SKU: HL.48025426 SSAA a ca...(+)
Female Voices; Tambourine
(SSAA a cappella) SKU:
HL.48025426 SSAA a
cappella with Optional
Tambourine. Composed
by Anna Lapwood. BH
Secular Choral. Carol,
Christmas,
Christmas/Advent Sacred,
Classical. Octavo. 12
pages. Duration 330
seconds. Boosey and
Hawkes #M060150173.
Published by Boosey and
Hawkes (HL.48025426).
ISBN 9781835680032.
UPC:
196288207559. Silen
t night: This arrangement
of the traditional carol
by Franz Gruber and
Joseph Muhr (translated
into English by John
Freeman Young) was
written by Anna Lapwood
and the Pembroke College
GirlsÂ? Choir for their
end of term party for the
families of the
choristers. The aim was
to produce an arrangement
manageable for the
youngest choristers
whilst stretching the
older ones with some
slightly jazzy harmonies.
It was written in one
75-minute rehearsal, and
performed to the parents
straight after. The choir
has written a new pieceat
the end of every term
since. Gaudete: This
arrangement of the
16th-century carol was
written during a full
weekend of group
composition with Anna
Lapwood and the Pembroke
College Girls' Choir, a
process with which they
had experimented
previously. The choir
decided to create
rhythmic impetus and
drive, which is delivered
from the outset in the
introductory material.
This figure is repeated
under the refrain for the
first three verses, while
the verses themselves are
presented in simple
unison. The final verse
is harmonised and
crescendos towards the
uplifting key change for
the final refrain, giving
a sense of climax, which
may be highlighted
further with an optional
tambourine. $4.50 - Voir plus => Acheter | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Libro de glosas Breitkopf & Härtel
Quintet (ob.clar.B-clar.A-sax.bsn .) SKU: BR.KM-2515 Set of parts....(+)
Quintet
(ob.clar.B-clar.A-sax.bsn
.) SKU: BR.KM-2515
Set of parts.
Composed by Jose Maria
Sanchez-Verdu. Chamber
music; Folder.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
's-Hertogenbosch,
December 16, 2007
Music post-1945; New
music (post-2000). Set of
parts. Composed 2007. 40
pages. Duration 10'.
Breitkopf and Haertel #KM
2515. Published by
Breitkopf and Haertel
(BR.KM-2515). ISBN
9790004503355. 11 x 14
inches. Libro de
glosas is based on the
Trattado de glosas by
Diego Ortiz (1510 - ca.
1570). The
intertextuality between
different materials and
musical techniques and
processes of the 16th
century was one of my
main interests when I
wrote this piece for the
wonderful sound and
quality of the Calefax
ensemble.The intertextual
relationships are as
follows:Recercada I is
based on the first chords
of the chanson Doulce
memoire by Pierre
Sandrin. It is also used
in Trattado de
glosas.Recercada II is
based on the incipit of
the madrigal O felici
occhi miei by Jacques
Arcadelt. It is also used
in Trattado de
glosas.Recercada III is
based on the ostinato
Passamezzo antico. It is
also used in Trattado de
glosas.Recercada IV is
freely based on the tenor
La Spagna. It is also
used in Trattado de
glosas.Batalla (V) is a
free composition in form
of a battaglia and is
based on some ostinati of
Spanish origin as well as
on an anonymous theme
from the 16th century.
There are also some bars
of a batalla by Joseph
Ximenez (18th
century).Libro de glosas
esta basada en el
Trattado de glosas de
Diego Ortiz (1510 - ca.
1570). La
intertextualidad entre
diferentes materiales y
tecnicas y procesos de la
musica del siglo XVI era
uno de mis principales
intereses cuando escribi
esta pieza para el
maravilloso sonido y
calidad del Calefax
ensemble.Las relaciones
intertextuales son las
siguientes:Recercada I
esta basada libremente
sobre los primeros
acordes de la chanson
Doulce memoire de Pierre
Sandrin. Esta es
utilizada como ejemplo en
el Trattado de
glosas.Recercada II esta
basada libremente sobre
el incipit del madrigal O
felici occhi miei de
Jacques Arcadelt. Esta
pieza es utilizada
tambien como ejemplo en
el Trattado de
glosas.Recercada III esta
basada libremente sobre
el ostinato Passamezzo
antico. Tambien es
presentada en el Trattado
de glosas.Recercada IV
esta construida
libremente sobre el tenor
La Spagna. Tambien es
utilizado por Ortiz en el
Trattado de
glosas.Batalla (V) es una
libre composicion en
forma de battaglia sobre
ostinati de origen
espanol y sobre un tema
anonimo (siglo XVI).
Tambien aparecen
brevemente varios
compases de una batalla
de Joseph Ximenez (siglo
XVIII).(Jose M.
Sanchez-Verdu). $71.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir) SKU:
HL.277282 SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282). UPC:
840126915006. 6.75x10.5
inches. Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo. $7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Glorious Hill Men's Voices Chorale TTBB [Conducteur] Schott
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male ...(+)
4 male voices (CtenTTBar)
(TTBB Choir) SKU:
HL.49003214 For
four male voices.
Composed by Gavin Bryars.
Sheet music. Edition
Schott. Classical. Score.
Composed 1988. 16 pages.
Duration 15'. Schott
Music #ED12461. Published
by Schott Music
(HL.49003214). ISBN
9790220117282. UPC:
888680784249.
8.25x11.75x0.052 inches.
Latin. Glorious
Hill may be performed by
a male choir.Text by Pico
della Mirandola
(1463-1497) from De
Hominis
Dignitate.Glorious Hill
was commissioned by the
Hilliard Ensemble and
first performed by them
at its summer Festival of
Voices in Lewes, Sussex,
in August 1988. It was
the first piece I wrote
for the ensemble and I
focused on the singers'
unique ability to move
with ease from early
music to tonal music of
the present day. There
were techniques which I
asked for which I hardly
needed to notate - the
staggered breathing of
the two tenors to supply
a continuous unbroken
held note for example -
and the piece moves
between passages for solo
voices and sections of
highly chromatic
homophony, almost as if
the music were switching
between the 12th century
of Perotin and the 16th
century of Gesualdo. Each
of the four voices is
given its own solo
passage, sometimes
accompanied, sometimes
quietly supported by the
other voices.The title,
Glorious Hill comes from
the name of the
small-town Mississippi
setting of Tennessee
Williams' Summer and
Smoke. I wrote the music
for the 1987 production
of this play at the
Leicester Haymarket
Theatre, the first time I
had written any
incidental music for the
stage. Williams makes
very specific demands in
terms of music and there
is one particularly
powerful scene, the
penultimate one,
throughout which music
and atmospheric sound
effects are continuous.
The principle character
Alma argues passionately
about the vital
importance of human
choice with the man to
whom she has, too late,
admitted her love. I
watched this section
every night throughout
the 4 week run of the
play watching the
different ways in which
the actress, Frances
Barber, played the scene.
There is a powerful
emotional and
philosophical connection
between the imagery of
this scene and a passage
from the Renaissance
philosopher Pico della
Mirandola's Oration on
the Dignity of Man which
forms the text of
Glorious Hill. This
passage has been
described as one of the
few passages in
Renaissance philosophy to
treat human freedom in a
modern way. The text,
which is sung in Latin,
is addressed by God to
Adam before the fall from
grace.Gavin Bryars. $8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| When Christ Was Born of Mary Free - SATB Chorale SATB SATB A Cappella Jackman Music Corporation
SATB chorus a cappella - Medium-difficult SKU: JK.01335 Composed by 16th ...(+)
SATB chorus a cappella -
Medium-difficult SKU:
JK.01335 Composed by
16th century English
carol. Arranged by Rob
Millett. Choral A
cappella, Choral SATB,
Difficulty Medium Hard,
Seasonal Music Christmas,
Christmas, Jesus Christ -
Birth. Christian,
Inspirational. Duration
3:00. Jackman Music
Corporation #01335.
Published by Jackman
Music Corporation
(JK.01335). Luke
2. A joyous
arrangement of the 16th
century English carol,
written for a cappella
mixed chorus
(SATB). Composer: 16th
century English carol
Arranger: Rob Millett
Difficulty:
Medium-difficult
Performance time:
3:00 Reference: Luke
2.
$1.60 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elburg Fantasy Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135396-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2013. De Haske
Publications #DHP
1135396-020. Published by
De Haske Publications
(BT.DHP-1135396-020).
9x12 inches.
English-Dutch. This
musical fantasy depicts
the history of the Dutch
fortified town of Elburg.
The work begins with an
atmospheric medieval
picture of the Convent of
St Agnes, the nunnery
that was built in the
first half of the 15th
century. We hear the
sound of the convent
bells together with an
upward motif, which will
reappear later in the
work. Next, the rest of
Elburg is featured,
including the fortress -
from which the bells of
the Sint-Nicolaaskerk
(Saint Nicholas Church)
are ringing. Then,
cheerful sounds can be
heard at the Vischpoort
(Fish Gate), where a
dancing group is
performing a 16th century
French folk dance (a
branle des chevaux). We
also hear old wagons
rumbling over the
town’scobble
stones. Trade made this
Hanseatic town a lively
place. The repetitive
upward motif first heard
in the introduction now
develops into a more
distinct feature,
reflecting the mercantile
spirit of the town
residents.Then follows
the slow middle movement,
in which the clock has
been turned back to the
time when Elburg was
still lying on the
Zuiderzee (which was a
bay of the North Sea),
and was struggling with
floods. After the second
St. Marcellus Flood
(1362) and the water
flood of 1367 it was
decided that the town
would be relocated. We
now hear the theme of
branle des chevaux in a
minor key, followed by a
death bell sounding in
remembrance of the
drowned citizens of the
former town. Back in our
own time, a slow,
expressive theme in
Baroque style mirrors
Elburg’s tranquil
places, such as the
Feithenhof (Feithen
Court) and the
Weduwenhofje (Widow
Court). Then the bustle
returns with motifs from
the introduction,
followed by an attractive
theme in which
present-day Elburg is
portrayed with its many
tourists. Now, suddenly,
there is an echo from the
past, depicting the
dramatic floods and wars
that once plagued the
town. This leads to the
grand closing theme:
branle des chevaux
is heard for a final time
from the perspective of
the historic town centre.
Deze muzikale
fantasie vertelt de
geschiedenis van de
Nederlandse vestingstad
Elburg. Het werk begint
met een middeleeuws
sfeerbeeld vanuit het
Agnietenklooster, het
nonnenklooster dat in de
eerste helft van de 15e
eeuw werd gebouwd. We
horen de kloosterklok
samen met een opwaarts
motief, dat ook later in
het werk terugkomt.
Vervolgens komt de rest
van Elburg aan bod,
inclusief de vesting -
van waaruit de klokken
van de Grote of
Sint-Nicolaaskerk
weergalmen. Dan klinken
bij de Vischpoort de
vrolijke geluiden van een
dansgroep die daar een
16e-eeuwse Franse
volksdans (branle des
chevaux) uitvoert.
Ook horen we oude karren
over de kinderkopjes van
de stad denderen.
Dehandel maakt deze
Hanzestad tot een
levendige plaats. Het
zich steeds herhalende
opwaartse motief uit de
inleiding krijgt hier een
nadrukkelijker karakter
en verbeeldt de
handelsgeest van de
stedelingen.Dan volgt het
langzame middendeel,
waarin de klok wordt
teruggedraaid naar de
tijd dat Elburg nog
direct aan de Zuiderzee
lag en te kampen had met
overstromingen. Na de
tweede
Sint-Marcellusvloed
(1362) en de watervloed
van 1367 werd besloten
dat de stad verplaatst
zou worden. We horen het
thema van de branle des
chevaux in mineur,
gevolgd door een
doodsklok, die de
verdronken inwoners van
de voormalige stad
herdenkt. Terug in onze
eigen tijd verklankt een
langzaam, expressief
thema in barokke stijl de
verstilde plekken in de
stad, zoals het
Feithenhof en het
Weduwenhofje. Dan keert
de levendigheid terug met
motieven uit de
inleiding, gevolgd door
een aansprekend thema
waarin het Elburg van nu
met zijn vele toeristen
doorklinkt. Plotseling is
er dan nog even een echo
uit het verleden: de
dramatiek van de
overstromingen en
oorlogen die de stad ooit
teisterden. Hieruit
vloeit het grootse
slotthema voort: de
branle des chevaux is
voor de laatste keer te
horen vanuit het
perspectief van de
historische
binnenstad. $203.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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