Around The Horn Ensemble Jazz [Conducteur et Parties séparées] - Facile Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with opt. flute - Grade 3 SKU: KN.61035<...(+)
Jazz Ensemble standard
jazz ensemble with opt.
flute - Grade 3
SKU:
KN.61035
Composed by
Carl Strommen. Jazz
Journey. Bright Swing.
Score and set of parts.
Duration 3 minutes, 5
seconds. Kendor Music Inc
#61035. Published by
Kendor Music Inc
(KN.61035).
UPC:
822795610352.
Conti
nuing with Carl
Strommen's popular
baseball-theme charts,
this one refers to the
tradition of infielders
tossing the ball to each
other after a successful
out. It opens with an
unaccompanied bass solo,
followed by a trumpet and
tenor soli. The same duo
is later featured in the
written or ad-lib solo
section. Set in a bright
swing groove for
advancing groups, shifts
between 2 and 4 feels and
solid material for all
make it a sure winner.
Rhythm section parts are
notated with chords cued,
and a guitar chord chart
by Jim Greeson is
included. Duration
3:05.
Responsorium.
Composed by Johann
Christian Bach. Edited by
Guido Erdmann. This
edition: urtext. 1x
38.104/21 oboe 1, 1x
38.104/22 oboe 2, 1x
38.104/31 horn 1, 1x
38.104/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Domine Ad
Adiuvandum Me Festina
E14. Sacred vocal music,
Psalms, Latin. Set of
Orchestra Parts. Warb E
14. Duration 5 minutes.
Carus Verlag #CV
38.104/09. Published by
Carus Verlag
(CA.3810409).
ISBN
9790007215064. Language:
Latin.
At the age
of just 20, Johann
Christian Bach, the
youngest son of Johann
Sebastian Bach, the
Kantor of St. Thomas's,
left behind the Lutheran
musical tradition of his
family: he went to Italy,
converted to Catholicism
there and successfully
composed operas for
Turin, Milan and Naples.
Frequently overlooked are
the Catholic Bach's
exquisite church music
works, almost all written
in the years 1757-1760,
and which had a
significant influence on
his time in Italy. These
include large-scale
Vesper settings with
impressive,
symphonic-style
instrumental
introductions, sometimes
anticipating Mozartian
idioms. Bach's Domine ad
adjuvandum me, an
immediately captivating
work, was written for the
opening of Vespers; it
seems to be carried along
by a sense of euphoric
purpose and a dynamic
lightheartedness which
positively radiates
southern European
temperament. The work is
published in the
authoritative Stuttgart
Urtext edition, based on
the rediscovered Hamburg
autograph manuscript.
Score and parts available
separately - see item
CA.3810400.
Responsorium.
Composed by Johann
Christian Bach. Edited by
Guido Erdmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Domine Ad
Adiuvandum Me Festina
E14. Sacred vocal music,
Psalms, Latin. Single
Part, Violin. Warb E 14.
4 pages. Duration 5
minutes. Carus Verlag #CV
38.104/11. Published by
Carus Verlag
(CA.3810411).
ISBN
9790007215071. Language:
Latin.
At the age
of just 20, Johann
Christian Bach, the
youngest son of Johann
Sebastian Bach, the
Kantor of St. Thomas's,
left behind the Lutheran
musical tradition of his
family: he went to Italy,
converted to Catholicism
there and successfully
composed operas for
Turin, Milan and Naples.
Frequently overlooked are
the Catholic Bach's
exquisite church music
works, almost all written
in the years 1757-1760,
and which had a
significant influence on
his time in Italy. These
include large-scale
Vesper settings with
impressive,
symphonic-style
instrumental
introductions, sometimes
anticipating Mozartian
idioms. Bach's Domine ad
adjuvandum me, an
immediately captivating
work, was written for the
opening of Vespers; it
seems to be carried along
by a sense of euphoric
purpose and a dynamic
lightheartedness which
positively radiates
southern European
temperament. The work is
published in the
authoritative Stuttgart
Urtext edition, based on
the rediscovered Hamburg
autograph manuscript.
Score and part available
separately - see item
CA.3810400.
O Christmas Tree Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000905-140 Arranged by David ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000905-140
Arranged by David Well.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000905-140. Published by
Gobelin Music
Publications
(BT.GOB-000905-140).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to 'kill' nature.
Needle-leaved trees were
the only ones which kept
their green colour
throughout the year, and
therefore became symbols
of immortality. These
'living' trees, said to
be the work of benign
spirits, were brought
into people's houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church inthe
course of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ's apparition could
be recognized. The German
organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song 'O
Tannenbaum', the melody
being a well-known folk
song. Next to 'Stille
Nacht' 'O Tannenbaum' is
the most famous German
Christmas song, now known
throughout the world. In
the United States of
America the melody of 'O
Tannenbaum' has even been
used in four States
(among which the State of
Maryland) for their State
song. In David Well's
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De fonkelende
vlammetjescreëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten
(o.a.Maryland) als
volkslied gebruikt. In
het arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke. Het
tussendeelis weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk af.
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Percy M. Young.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series I,
Volume 13. Complete
edition, Score. HWV 53.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA04020_00.
Published by Baerenreiter
Verlag (BA.BA04020).
ISBN 9790006443055. 33
x 26 cm inches. Text
Language: English,
German. Translation:
Walther
Siegmund-Schultze,
Walther. Charles
Jennens.
Saul was
given its first
performance under
Handel’s direction
at the Haymarket Theatre,
London, on 16 January
1739. The original
libretto (dated 1738)
refers to the work as
“an Oratorio or
Sacred Dramaâ€. This
libretto was written by
Charles Jennens
(1700–1770), a
wealthy amateur writer
from Gopsall,
Leicestershire. A letter
of 28 July 1735 from
Handel to Jennens
suggests that a complete
raft of the text already
existed at that
time.
Saul
occupies an
extraordinarily important
position in the English
oratorio tradition that
Handel brought to
perfection, standing
alongside Israel in Egypt
at the end of the first
creative period of such
works.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Old Hundredth Ensemble de cuivres [Conducteur et Parties séparées] - Facile Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-238-030 Composed by Louis Bourgeois. Arr...(+)
Brass Band - Grade 3
SKU:
BT.AMP-238-030
Composed by Louis
Bourgeois. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Hymns & Chorals. Set
(Score & Parts). Composed
2008. Anglo Music Press
#AMP 238-030. Published
by Anglo Music Press
(BT.AMP-238-030).
9x12
inches.
English-German-French-Dut
ch.
The tune Old
Hundredth is one of
the best-known melodies
in all Christian musical
traditions and first
appeared in the 1551
psalter Pseaumes Octante
Trois de David, where it
is used as a setting for
a version of Psalm 134;
it is usually attributed
to the French composer
Louis Bourgeois (c.1510 -
c.1560). The melody was
then used in 1561 by the
Scots clergyman, William
Kethe in Sternhold and
Hopkins’ Psalter
for his paraphrase of
Psalm 100 - All People
that on Earth do
Dwell<(I>, which is still
the most familiar hymn
sung to this noble tune.
When Tate and
Brady’s New
Version of the Psalms was
published in 1696, the
melody became know as the
‘old’
version - henceits
current title. This
arrangement presents
three contrasting verses
and is effective as a
concert piece as well as
an instrumental interlude
as part of a church
service or wedding.
De melodie van
Old Hundredth is
een van de bekendste in
alle christelijke
muziektradities, ze
verscheen voor het eerst
in Pseaumes Octante
Trois de David uit
1551. De muziek wordt
meestal toegeschreven aan
de Fransecomponist Louis
Bourgeois
(ca.1510-ca.1560). In
1561werd de melodie
gebruikt door de Schotse
geestelijke William Kethe
voor zijn parafrase van
psalm 100. Later werd de
melodie in Engeland
bekend als de
‘oude’
versie - daar komt ookde
huidige titel vandaan.
Dit arrangement, met drie
contrasterende
coupletten, is geschikt
als concertwerk of als
instrumentaal tussenspel
tijdens een kerkdienst of
huwelijksceremonie. Old Hundtredth
ist eine der bekanntesten
Melodien aller
christlichen
Musiküberlieferunge
n. Es erschien erstmals
in dem Psalter
Pseaumes Octante Trois
de David von 1551, wo
es als Satz für
zwei Psalmen verwendet
wurde. Diese Bearbeitung
präsentiert drei
kontrastierende Strophen
und kann sehr
wirkungsvoll sowohl als
Konzertwerk als auch als
instrumentales
Zwischenspiel in einem
Gottesdienst oder
während einer
Hochzeitszeremonie
eingesetzt
werden.
Old Hundredth Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-238-010 Composed by Louis Bou...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-238-010
Composed by Louis
Bourgeois. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Hymns & Chorals. Set
(Score & Parts). Composed
2007. Anglo Music Press
#AMP 238-010. Published
by Anglo Music Press
(BT.AMP-238-010).
9x12
inches.
English-German-French-Dut
ch.
The tune Old
Hundredth is one of
the best-known melodies
in all Christian musical
traditions and first
appeared in the 1551
psalter Pseaumes Octante
Trois de David, where it
is used as a setting for
a version of Psalm 134;
it is usually attributed
to the French composer
Louis Bourgeois (c.1510 -
c.1560). The melody was
then used in 1561 by the
Scots clergyman, William
Kethe in Sternhold and
Hopkins’ Psalter
for his paraphrase of
Psalm 100 - All People
that on Earth do
Dwell<(I>, which is still
the most familiar hymn
sung to this noble tune.
When Tate and
Brady’s New
Version of the Psalms was
published in 1696, the
melody became know as the
‘old’
version - henceits
current title. This
arrangement presents
three contrasting verses
and is effective as a
concert piece as well as
an instrumental interlude
as part of a church
service or wedding.
De melodie van
Old Hundredth is
een van de bekendste in
alle christelijke
muziektradities, ze
verscheen voor het eerst
in Pseaumes Octante
Trois de David uit
1551. De muziek wordt
meestal toegeschreven aan
de Fransecomponist Louis
Bourgeois
(ca.1510-ca.1560). In
1561werd de melodie
gebruikt door de Schotse
geestelijke William Kethe
voor zijn parafrase van
psalm 100. Later werd de
melodie in Engeland
bekend als de
‘oude’
versie - daar komt ookde
huidige titel vandaan.
Dit arrangement, met drie
contrasterende
coupletten, is geschikt
als concertwerk of als
instrumentaal tussenspel
tijdens een kerkdienst of
huwelijksceremonie. Old Hundtredth
ist eine der bekanntesten
Melodien aller
christlichen
Musiküberlieferunge
n. Es erschien erstmals
in dem Psalter
Pseaumes Octante Trois
de David von 1551, wo
es als Satz für
zwei Psalmen verwendet
wurde. Diese Bearbeitung
präsentiert drei
kontrastierende Strophen
und kann sehr
wirkungsvoll sowohl als
Konzertwerk als auch als
instrumentales
Zwischenspiel in einem
Gottesdienst oder
während einer
Hochzeitszeremonie
eingesetzt
werden.
Responsorium.
Composed by Johann
Christian Bach. Edited by
Guido Erdmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Domine Ad
Adiuvandum Me Festina
E14. Sacred vocal music,
Psalms, Latin. Single
Part, Organ. Warb E 14. 4
pages. Duration 5
minutes. Carus Verlag #CV
38.104/49. Published by
Carus Verlag
(CA.3810449).
ISBN
9790007215125. Language:
Latin.
At the age
of just 20, Johann
Christian Bach, the
youngest son of Johann
Sebastian Bach, the
Kantor of St. Thomas's,
left behind the Lutheran
musical tradition of his
family: he went to Italy,
converted to Catholicism
there and successfully
composed operas for
Turin, Milan and Naples.
Frequently overlooked are
the Catholic Bach's
exquisite church music
works, almost all written
in the years 1757-1760,
and which had a
significant influence on
his time in Italy. These
include large-scale
Vesper settings with
impressive,
symphonic-style
instrumental
introductions, sometimes
anticipating Mozartian
idioms. Bach's Domine ad
adjuvandum me, an
immediately captivating
work, was written for the
opening of Vespers; it
seems to be carried along
by a sense of euphoric
purpose and a dynamic
lightheartedness which
positively radiates
southern European
temperament. The work is
published in the
authoritative Stuttgart
Urtext edition, based on
the rediscovered Hamburg
autograph manuscript.
Score and part available
separately - see item
CA.3810400.
Un Air De Rumba Flûte traversière et Piano [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music & Piano Accompaniment 1 Flute 1 Piano - Grade 2 SKU: FL.FX07261...(+)
Chamber Music & Piano
Accompaniment 1 Flute 1
Piano - Grade 2
SKU:
FL.FX072610
Composed
by Alain Lopez. Original
Composition. Classical,
Educational. Score and
Set of Parts. FLEX
Editions #FX072610.
Published by FLEX
Editions (FL.FX072610).
Cuban music
with a A-B-A' structure.
Every sentence begins
with 3 half notes
followed by reversed
intervals (eighth notes)
and ends with a rhythmic
tie. It is possible to
learn this piece by heart
to be closer to the oral
tradition. The sentences
are not difficult to
learn and MP3 support
will be a significant
support for this. - Alain
LOPEZ ;
A Piece
for students from 2 years
of instrument practice ;
Instruments: 1 Flute 1
Piano; Difficuly Level:
Grade 2; Duration: 2 mn
10 s; Musical Style:
Classical, Educational;
Category: Original
Composition; Composer:
Alain LOPEZ;.
O Christmas Tree Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000854-120 Arranged by David Well. Sco...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000854-120
Arranged by David Well.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000854-120. Published by
Gobelin Music
Publications
(BT.GOB-000854-120).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to ‘kill’
nature. Needle-leaved
trees were the only ones
which kept their green
colour throughout the
year, and therefore
became symbols of
immortality. These
‘living’ trees, said
to be the work of benign
spirits, were brought
into people’s houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church in
thecourse of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ’s apparition
could be recognized. The
German organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song ‘O
Tannenbaum’, the melody
being a well-known folk
song. Next to ‘Stille
Nacht’ ‘O
Tannenbaum’ is the most
famous German Christmas
song, now known
throughout the world. In
the United States of
America the melody of
‘O Tannenbaum’ has
even been used in four
States (among which the
State of Maryland) for
their State song. In
David Well’s
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De
fonkelendevlammetjes
creëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten(o.a.
Maryland) als volkslied
gebruikt. In het
arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke.Het
tussendeel is weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk.
,,Voznesu Tja Boze
moj, carju moj ,,Ich
erhebe Dich, mein Gott,
mein Konig. Composed
by Dmitrij Bortnjanskij.
Edited by St Wolf and Th
Schwartz. Choir; stapled.
Chor-Bibliothek (Choral
Library). Classical
period. Choral score. 12
pages. Breitkopf and
Haertel #ChB 5280-02.
Published by Breitkopf
and Haertel
(BR.CHB-5280-02).
ISBN
9790004411957. 7.5 x 10.5
inches.
Russian/German.
Bor
tnianskys sacred choral
music has only begun to
make a claim on our
attention in recent
years. In his works, the
Russian Mozart blended
the Italian belcanto
style (he spent more than
ten years of his life in
Venice) with the Orthodox
liturgy and historical
tradition of the St.
Petersburg Imperial Choir
to form a personal style
which later significantly
influenced the choral
works of Tchaikovsky as
well. The edition
contains the original
Russian text in an
accurate transliteration,
a German translation
suited for performance
and a preface by the
expert in Russian music
history Dorothea
Redepenning.
Kantáta pro
sóla, SmÃseny sbor
a orchestr - Kantate
für Soli, gemischten
Chor und Orchester
(1897). Composed by
Leos Janacek. Edited by
Leoš Faltus, Marie
Kucerová, and Miloš
Å tedron. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
B/1. Complete edition,
Score. Composed 1897.
Duration 28 minutes, 4
seconds. Baerenreiter
Verlag #BA06851_00.
Published by Baerenreiter
Verlag (BA.BA06851).
ISBN 9790006496723.
34.3 x 27.3 cm
inches.
Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This
edition presents an
authentic printed text
based on all available
sources for each work. In
addition to the musical
text, each volume also
contains a critical
report (Czech/German), a
rendition of deleted or
rejected versions, and a
comprehensive appendix of
facsimiles.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Responsorium.
Composed by Johann
Christian Bach. Edited by
Guido Erdmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Domine Ad
Adiuvandum Me Festina
E14. Sacred vocal music,
Psalms, Latin. Single
Part, Viola. Warb E 14. 4
pages. Duration 5
minutes. Carus Verlag #CV
38.104/13. Published by
Carus Verlag
(CA.3810413).
ISBN
9790007215095. Language:
Latin.
At the age
of just 20, Johann
Christian Bach, the
youngest son of Johann
Sebastian Bach, the
Kantor of St. Thomas's,
left behind the Lutheran
musical tradition of his
family: he went to Italy,
converted to Catholicism
there and successfully
composed operas for
Turin, Milan and Naples.
Frequently overlooked are
the Catholic Bach's
exquisite church music
works, almost all written
in the years 1757-1760,
and which had a
significant influence on
his time in Italy. These
include large-scale
Vesper settings with
impressive,
symphonic-style
instrumental
introductions, sometimes
anticipating Mozartian
idioms. Bach's Domine ad
adjuvandum me, an
immediately captivating
work, was written for the
opening of Vespers; it
seems to be carried along
by a sense of euphoric
purpose and a dynamic
lightheartedness which
positively radiates
southern European
temperament. The work is
published in the
authoritative Stuttgart
Urtext edition, based on
the rediscovered Hamburg
autograph manuscript.
Score and part available
separately - see item
CA.3810400.
Viola, Violoncello, Organ (Viola (Violoncello), Organ) SKU: BA.BA11252 Ed...(+)
Viola, Violoncello, Organ
(Viola (Violoncello),
Organ)
SKU:
BA.BA11252
Edited by
Bella Kalinowska and
Semjon Kalinowsky.
Stapled. Performance
score, Parts, anthology.
Baerenreiter Verlag
#BA11252_00. Published by
Baerenreiter Verlag
(BA.BA11252).
ISBN
9790006569168. 30 x 23 cm
inches. Preface: Seip,
Achim.
This volume
contains works inspired
by the Jewish musical
tradition, arranged for
viola (or alternatively
for violoncello) and
organ. The music takes
its bearings on the
inimitable and highly
emotional melodies of
synagogue chant and
Jewish folk music. The
pieces are suitable for
worship, private
devotions as well as
concert performance and
can easily be tackled by
amateur
musicians.
The
arrangements shed light
on a little-known but
valuable repertoire. The
Foreword (Ger/Eng)
provides an historical
overview of organ music
in the synagogue, where
the instrument has found
use in solo performance
and accompaniment since
the 19th century,
especially in the wake of
the Jewish Reform
movement.
Coro SMsA, 2 Fl, Git, Perc SKU: CA.336560 Arranged by Jesus Albert Hernan...(+)
Coro SMsA, 2 Fl, Git,
Perc
SKU:
CA.336560
Arranged by
Jesus Albert Hernandez.
Separate edition with
choral collection.
Secular choral music.
Full score. 5 pages.
Carus Verlag #CV
03.365/60. Published by
Carus Verlag (CA.336560).
ISBN 9790007244033.
Language:
Spanish.
This song
is a popular 'Cueca
brava,' also known as
'Cueca Chilenera.' The
'Cueca' was designated a
na tional dance in Chile
since 1979 and it has
been danced throughout
this country since the
early 19th century, both
in the countryside and in
the cities. The styles of
the 'Cuecas' are
different according to
the nature of the texts
and to traditions of each
region. The origin of the
'Cueca' is unclear, but
certainly it developed in
the Viceroyalty of Peru,
fi rst as a dance called
the 'zamacueca,' which in
turn originated from the
'jota' and the
'fandango.' It is danced
in couples who dance
apart from each other
while waving red scarves
and moving in circles.
The musicologist Carlos
Vega writes: it is
possible to consider the
'Cueca' as a parody of
courtship between a cock
and a hen: the scarves
could symbolize feathers
or ridges within a
choreography that is
characterized by loose
interdependent partners.
In describing the 'Cueva'
another musicologist,
Samuel Claro, explains
that the choreography
recalls the ancient or
medieval tournaments and
derives from the
pantomime of love ... It
is a festive and cheerful
dance, accompanied by
guitars, harp, accordion
and percussion
instruments, although it
is written mostly in
minor keys. The rhythm
combines measures of 6/8
and 3/4.
Composed
by Manfred Trojahn.
Stapled. Score, Set of
parts. Composed
2005-2008. 68/15/17/14
pages. Baerenreiter
Verlag #BA09332_00.
Published by Baerenreiter
Verlag (BA.BA09332).
ISBN 9790006533749.
32.5 x 26.6 cm
inches.
Manfred
Trojahn’s amply
dimensioned piano quartet
in four movements with a
duration of approx. 40
minutes was composed and
developed in several
stages.
The inner
movements, a Vivace
characterised by lombard
rhythms and vitality and
a dream-like adagio were
written in the Mozart
Year 2005. By 2008 the
outer movements were
completed. The
opening Adagio
“Zerbrochenes
Lied†is an
imposing lamentation of
the dead whereas the
Finale, a profound,
moving
“Wanderliedâ€,
was dedicated to
Trojahn’s friend
and composer Wilhelm
Killmayer on the occasion
of his 80th
birthday. In this way
Trojahn’s work
stands in the tradition
of Mozart’s two
piano quartets, but adds
a biographical
element.
This is a
large, musically
demanding but rewarding
work for ambitious
musicians.
Chorus a cappella SKU: BR.CHB-5290-02 ,,Kol' vozljublenna selenija Tvo...(+)
Chorus a cappella
SKU:
BR.CHB-5290-02
,,Kol' vozljublenna
selenija Tvoja ,,Wohl, so
wohl tun mir deines
Hauses Statten.
Composed by Dmitrij
Bortnjanskij. Edited by
St Wolf and Th Schwartz.
Choir; stapled.
Chor-Bibliothek (Choral
Library).
Bortniansky's sacred
choral music has only
begun to make a claim on
our attention in recent
years.
Classical
period. Choral score. 16
pages. Breitkopf and
Haertel #ChB 5290-02.
Published by Breitkopf
and Haertel
(BR.CHB-5290-02).
ISBN
9790004412008. 7.5 x 10.5
inches.
Russian/German.
In
his works, the Russian
Mozart blended the
Italian belcanto style
(he spent more than ten
years of his life in
Venice) with the Orthodox
liturgy and historical
tradition of the St.
Petersburg Imperial Choir
to form a personal style
which later significantly
influenced the choral
works of Tchaikovsky as
well. The edition
contains the original
Russian text in an
accurate transliteration,
a German translation
suited for performance
and a preface by the
expert in Russian music
history Dorothea
Redepenning.
Orchester-Ballade.
Composed by Leos Janacek.
Edited by Jarmil
Burghauser and Radomil
Eliska. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/6. Complete edition,
Score. Composed
1912-1914. Duration 12
minutes. Baerenreiter
Verlag #BA06848_00.
Published by Baerenreiter
Verlag (BA.BA06848).
ISBN 9790006483303.
34.4 x 27 cm inches.
Text: Svatopluk
Cech.
Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This editon
presents an authentic
printed text based on all
available sources for
each work. In addition to
the musical text, each
volume also contains a
critical report (Czech /
German), a rendition of
deleted or rejected
versions, and a
comprehensive appendix of
facsimiles.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Responsorium.
Composed by Johann
Christian Bach. Edited by
Guido Erdmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Domine Ad
Adiuvandum Me Festina
E14. Sacred vocal music,
Psalms, Latin. Single
Part, basso continuo.
Warb E 14. 4 pages.
Duration 5 minutes. Carus
Verlag #CV 38.104/14.
Published by Carus Verlag
(CA.3810414).
ISBN
9790007215101. Language:
Latin.
At the age
of just 20, Johann
Christian Bach, the
youngest son of Johann
Sebastian Bach, the
Kantor of St. Thomas's,
left behind the Lutheran
musical tradition of his
family: he went to Italy,
converted to Catholicism
there and successfully
composed operas for
Turin, Milan and Naples.
Frequently overlooked are
the Catholic Bach's
exquisite church music
works, almost all written
in the years 1757-1760,
and which had a
significant influence on
his time in Italy. These
include large-scale
Vesper settings with
impressive,
symphonic-style
instrumental
introductions, sometimes
anticipating Mozartian
idioms. Bach's Domine ad
adjuvandum me, an
immediately captivating
work, was written for the
opening of Vespers; it
seems to be carried along
by a sense of euphoric
purpose and a dynamic
lightheartedness which
positively radiates
southern European
temperament. The work is
published in the
authoritative Stuttgart
Urtext edition, based on
the rediscovered Hamburg
autograph manuscript.
Score and part available
separately - see item
CA.3810400.
Adiós Nonino Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1023165-010 Composed by Astor...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1023165-010
Composed by Astor
Piazzolla. Arranged by
Klaas van der Woude. De
Haske Pop Collection.
Festive and Solemn Music.
Set (Score & Parts).
Composed 2002. De Haske
Publications #DHP
1023165-010. Published by
De Haske Publications
(BT.DHP-1023165-010).
Adiós Nonino
is an enchanting and
passionate tango written
by the Argentine composer
and accordion player
Astor Piazzolla. Although
the piece was originally
written for accordion
Klaas van der Woude has
created a great
arrangement for concert
band.
Danza la Habana Orchestre d'harmonie [Conducteur] - Intermédiaire Excelcia Music Publishing
Concert Band - Grade 3.5 SKU: XC.RCB2014FS Composed by Ruth Brittin. Rhap...(+)
Concert Band - Grade 3.5
SKU: XC.RCB2014FS
Composed by Ruth Brittin.
Rhapsody Band Series.
Concert and Contest.
Concert and contest.
Score. Excelcia Music
Publishing #RCB2014FS.
Published by Excelcia
Music Publishing
(XC.RCB2014FS).
UPC:
812598033892. 9 x 12
inches.
Danza La
Habana’s inception
was brought about by the
composer’s trip to
Cuba, where she was
intrigued by their rich
musical traditions.
Through careful study,
Ruth has crafted her
version of a Habanera, a
blending of the European
contredanse and African
rhythms, brough to Cuba
in the 1700’s.
Chamber Music String Quartet SKU: PR.114414250 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114414250
Composed
by Lowell Liebermann.
Contemporary. Set of
Score and Parts. With
Standard Notation. Op.
103. 28+9+8+9+8 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41425. Published by
Theodore Presser Company
(PR.114414250).
UPC:
680160607846.
Lowel
l Liebermann's 4th String
Quartet was commissioned
by the Canandaigua Lake
Chamber Music Festival
and the Wood Library,
Canandaigua, NY, for the
Orion Quartet in
celebration of their 20th
Anniversary. The quartet
was premiered by the
Orions at the Canandaigua
Lake Chamber Music
Festival in Rochester, NY
on February 9th, 2008. To
quote the writer Mark
Greenberg: It's a
remarkable piece. The
mood is elegiacal and
meditative, the melodic
lines sinuous and
searching, the harmonies
rich and astonishingly
beautiful. Liebermann
works within the
traditions of Western
tonality, but that is a
mansion with many rooms.
Liebermann inhabits all
of them as his expressive
purposes require, and he
doesn't mind knocking
down a wall to create new
harmonic spaces. The
Fourth Quartet doesn't
exactly fit the
neoromantic niche into
which Liebermann is
sometimes placed. Much of
the music, especially
near the beginning, is a
highly advanced and fluid
chromatic expressionism
with modernist
tendencies. Sometimes
this roiling cloudscape
breaks open to allow a
patch of near-classical
harmony and
almost-resolution. Near
the midpoint the clouds
lift in leaping
modulations. Several
chordal passages recall
Russian Orthodox chant.
Suddenly, when you've
begun to think the
somber, deliberate pace
has gone on a bit too
long, Liebermann
introduces a kind of
hobbled, stilted jazz
idiom. The piece dies in
pensive quiet.
Oboe SKU: OT.23127 Composed by Daniel Akiva. 4 miniatures for oboe solo. ...(+)
Oboe
SKU: OT.23127
Composed by Daniel Akiva.
4 miniatures for oboe
solo. Classical, Jewish.
Score. OR-TAV Music
Publications #23127.
Published by OR-TAV Music
Publications (OT.23127).
ISBN 9789655050721.
8.27 x 11.69
inches.
Bakashot
are piyyutim (relig
ious poems) which are
sung late at night mostly
on Sabbaths and holidays.
These poems have many
spiritual and mystical
influences, and their
origin is among the
Sephardic Jews before the
Expulsion from Spain. The
singing of
the bakashot was
expanded during the 16th
Century, particularly by
the mystics in Safed, and
appears also in the
singing of the
the maftirim among
Turkish Jews. These
four miniatures for oboe
solo are personal prayers
written in the
inspiration of the
bakashot. Daniel Akiva
is a composer, performer,
and educator whose
performances on guitar
and lute have won great
acclaim. Mr. Akiva
graduated from the Rubin
Academy of Music in
Jerusalem in 1981, where
he studied classical
guitar with Haim Asulin
and composition with Haim
Alexander. In 1987 he
completed his studies at
the Geneva Conservatorium
in Switzerland where he
studied lute with
Jonathon Rubin and
composition with Jean
Ballisa. For many years,
he headed the Music
Department at the WIZO
High School for the Arts
in Haifa, which he
founded in 1986, and
served as the Artistic
Director of the Guitar
Gems Festival from
2006-2019. As part of his
work at WIZO High School,
he has developed a method
for teaching free
improvisation that has
been incorporated into
the music program at the
school. Mr. Akiva has
appeared in concert as a
guitarist and lutist and
given master classes in
Israel, Europe, Russia,
the United States, and
Latin America. Daniel
Akiva’s
compositional output
includes works for solo
instruments, chamber
ensembles, choir, voice
and guitar, piano, and
chamber orchestra. His
works have been recorded
on twelve CDs, the latest
of which, Malchut, was
issued by OR-TAV in
2014. A native of
Haifa whose family has
lived in Israel for over
five hundred years, he
was steeped in the
Sephardic
(Jewish-Spanish)
tradition from his youth.
Much of his compositional
output has been devoted
to a dialogue with the
music of the Sephardic
Jews. Daniel Akiva has
also maintained a
creative dialogue over
many years with the poets
and writers Amnon
Shamash, Rivka Miriam,
and Avner Peretz.
Organ SKU: BR.EB-8041 Of the 'Musical Offering' by J.S. Bach. Comp...(+)
Organ
SKU:
BR.EB-8041
Of the
'Musical Offering' by
J.S. Bach. Composed
by Jurg Baur. Solo
instruments; Softcover.
Edition Breitkopf.
World premiere:
Dusseldorf, May 20,
1978
Music post-1945.
Score. Composed 1977. 24
pages. Duration 13'.
Breitkopf and Haertel #EB
8041. Published by
Breitkopf and Haertel
(BR.EB-8041).
ISBN
9790004174401. 9 x 12
inches.
During the
intensive study of Johann
Sebastian Bach's Musical
Offering for the creation
of a commissioned
composition for wind
trio, I had the idea of
writing a larger organ
work on the Royal Theme
at the same time. This is
how the Three Ricercare
came into being. They are
multi-part fantasies for
organ, which - connected
by the frequently
transformed thematic
material of the Musical
Offering and the
manifoldly reshaped
B-A-C-H motif - alternate
between free, rapsodic
parts on the one hand and
strictly structured parts
on the other. For my 60th
birthday, W. E. v.
Lewinski wrote an
appreciation under the
title: Music in the span
between constraint and
freedom. This formulation
aptly characterizes the
new organ work. (Jurg
Baur) CD: Martin
Herchenroder CD Koch
3-1846-3 H1 Bibliography:
Semrau , Arno: Polpyhone
Orgelmusik von Johann
Sebastian Bach bis Jurg
Baur, Augsburg: Wissner
2001, darin besonders pp.
259-304 und 510-532.
Richter , Reinhold:
Zwischen Tradition und
Avantgarde zwischen
Zweifel und Hoffnung.
Einige Notizen zur Chor-
und Orgelmusik von Jurg
Baur anlasslich des 85.
Geburtstages im
vergangenen November, in:
Forum Kirchenmusik 54
(2003), Heft 6, pp.
23-31.
SATB choir & Org SKU: ST.Y287 Composed by Rhian Samuel. SATB and Organ. V...(+)
SATB choir & Org
SKU:
ST.Y287
Composed by
Rhian Samuel. SATB and
Organ. Vocal Score.
Stainer & Bell Ltd.
#Y287. Published by
Stainer & Bell Ltd.
(ST.Y287).
ISBN
9790220223198.
Comp
osed for the
internationally regarded
Choir of New College,
Oxford, and its conductor
Edward Higginbottom,
Rhian Samuel's What
Cheer? is a bright
and uplifting new setting
of words already familiar
to singers from popular
carols by William Walton
and Peter Warlock. The
scoring is for SATB choir
and organ, with optional
short solos for soprano,
alto and bass.
An eminent and
established song
composer, Samuel has
brought to this text,
originally from a
16th-century commonplace
book compiled by Richard
Hill, her own idiomatic
response to the tradition
of music for Christmas.
Though written for one of
the world's great vocal
ensembles, What
Cheer? is well
within the range of
accomplished amateur
choirs, and the effective
scoring for voices
captures in ringing
choral sounds the buoyant
optimism of this poetic
celebration of Christ's
birth.
O Christmas Tree Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000854-020 Arranged by David Well. Set...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000854-020
Arranged by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000854-020. Published by
Gobelin Music
Publications
(BT.GOB-000854-020).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to ‘kill’
nature. Needle-leaved
trees were the only ones
which kept their green
colour throughout the
year, and therefore
became symbols of
immortality. These
‘living’ trees, said
to be the work of benign
spirits, were brought
into people’s houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church in
thecourse of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ’s apparition
could be recognized. The
German organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song ‘O
Tannenbaum’, the melody
being a well-known folk
song. Next to ‘Stille
Nacht’ ‘O
Tannenbaum’ is the most
famous German Christmas
song, now known
throughout the world. In
the United States of
America the melody of
‘O Tannenbaum’ has
even been used in four
States (among which the
State of Maryland) for
their State song. In
David Well’s
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De
fonkelendevlammetjes
creëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten(o.a.
Maryland) als volkslied
gebruikt. In het
arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke.Het
tussendeel is weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk.
Little Brown Jug Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones ATTBar/AATBar/SATBar/STTB ar SKU: AP.1-ADV7643 For Saxoph...(+)
4 Saxophones
ATTBar/AATBar/SATBar/STTB
ar
SKU:
AP.1-ADV7643
For
Saxophone Quartet
ATTBar/AATBar/SATBar/STTB
ar. Composed by
Joseph E. Winner.
Arranged by Frank
Reinshagen. Quartet; Solo
Small Ensembles; Woodwind
- Saxophone Quartet.
Advance Music. Swing.
Score and Part(s).
Advance Music
#01-ADV7643. Published by
Advance Music
(AP.1-ADV7643).
UPC:
805095076431.
English.
Little
Brown Jug has been
arranged by Frank
Reinshagen in the
tradition of the great
saxophone sections of the
Swing era, for saxophone
quartet
(AATBar/AATBar/SATBar/STT
Bar).
Composed by Antonio
Vivaldi. This edition:
urtext. Stuttgart Urtext
Edition: Vivaldi-Archiv.
German title: Dixit.
Sacred, Cantatas, Motets;
Stuttgart Urtext
editions; Occasions:
Daily hours; Use during
church year: Epiphany.
Single Part, Choir 2:
Basso cont. RV 594. 12
pages. Duration 25
minutes. Carus Verlag #CV
40.007/18. Published by
Carus Verlag
(CA.4000718).
ISBN
9790007057671. Language:
Latin/English.
Dixi
t Dominus (Ps 109), a
psalm setting for double
choir, is one of
Vivaldi's most
significant sacred works.
In it, he takes up the
old Venetian polychoral
tradition, combining its
compositional techniques
with those of the
instrumental concerto,
the cantata and the
opera. The broadly
conceived cycle of
movements, consisting of
eight psalm verses and
the doxology, is
characterized by an
expansive arch of
tonalities connecting the
two framing outer
movements in D major
(these are also
thematically related):
Dixit Dominus and Gloria
Patri. The contrasting
and varied inner
movements are perfect
examples of Vivaldi's
skill in vividly
portraying linguistic
figures in music. Score
and part available
separately - see item
CA.4000700.
Jazz ensemble - Grade 3 SKU: CL.032-4429-01 Composed by Elefante. Jazz En...(+)
Jazz ensemble - Grade 3
SKU:
CL.032-4429-01
Composed by Elefante.
Jazz Ensemble. Audio
recording available
separately (item
CL.991-2016-01). Extra
full score. Composed
2016. Duration 3 minutes,
54 seconds. C.L.
Barnhouse #032-4429-01.
Published by C.L.
Barnhouse
(CL.032-4429-01).
This chart is
straight out of the Basie
shuffle/swing tradition.
Influenced by Quincy
Jones's early big band
arrangements, this chart
requires a laid-back
swing feel and features a
strong saxophone section
in both the melody
statement and an extended
soli. Interesting
dynamics and a cool style
shift makes this one an
attention grabber.
Impressive!
Orchestra - Grade 1 SKU: AP.45868 Composed by Andrew H. Dabczynski. Perfo...(+)
Orchestra - Grade 1
SKU: AP.45868
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Explorer. Form: March.
Score and Part(s). 152
pages. Duration 2:15.
Highland/Etling
#00-45868. Published by
Highland/Etling
(AP.45868).
UPC:
038081523699.
English.
In the
tradition of great
British wind band marches
like British Eighth and
Colonel Bogey, this
original is intended for
beginning orchestra.
Students in their first
year will find this piece
absolutely playable,
using only open strings,
notes within a one-octave
D scale, and simple
bowing patterns. Optional
beginning percussion and
piano parts ensure that
British March by Andrew
H. Dabczynski will make a
perfect opening or
closing piece on any
concert program.
(2:15).