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.
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.
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.
SKU: BA.BVK02305 July 1836 to January 1838. Composed by Felix Bart...(+)
SKU: BA.BVK02305
July 1836 to January
1838. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Helmut Loos, Thomas
Kauba, Uta Wald, and
Wilhelm Seidel. Linen.
Samtliche Briefe in 12
Banden. Only available as
a full subscription to
ISBN 978-3-7618-2300-2.
Book. With Language:
German. Baerenreiter
Verlag #BVK02305_00.
Published by Baerenreiter
Verlag (BA.BVK02305).
ISBN 9783761823057.
23.5 x 16 cm inches.
Preface: Helmut
Loos.
Felix
Mendelssohn Bartholdy as
letter-writer: at the
heart of 19th century
European
culture
As one of
the most important
letter-writers of the
19th century, Felix
Mendelssohn Bartholdy
maintained an extensive
correspondence. With
great style and eloquence
he wrote letters to
friends and family,
letters from his travels
and he also wrote to
leading composers,
musicians, artists as
well as publishers. He
corresponded with famous
contemporaries such as
Robert Schumann, Franz
Liszt and Richard Wagner
as well as Johann
Wolfgang von Goethe, Carl
Friedrich Zelter and
Alexander von
Humboldt.
The
correspondence begins in
1816 and ends in 1847
with the
composer’s death.
These letters are
invaluable documents
shedding light not only
on the genesis,
publication and revision
of his musical works, but
also on a period when
relations between
Christians and Jews still
had a chance to become
harmonious, as Moses
Mendelssohn, the imminent
scholar and grandfather
of the composer had
advocated.
This
edition will therefore be
of great interest far
beyond the circles of
musicologists and music
specialists. It will
appeal to those who are
interested in the history
of culture and ideas and
to those who perceive
Mendelssohn and his
family as representatives
of a unique, diverse
cultural epoch.
The complete
correspondence shows that
Mendelssohn not only went
on to become one of the
leading figures of German
musical culture in the
1840s, but that he also
maintained a network of
musical contacts
throughout
Europe.
The
edition of the complete
letters This
scholarly-critical
complete edition
comprises 5,855 letters
by Felix Mendelssohn
Bartholdy. Previously
only a small part of his
correspondence had been
published and made
accessible to the public.
The complete edition is
based on Mendelssohn
letters which have been
compiled over decades by
Rudolf Elvers as well as
on international research
carried out by an
academic workgroup in
Leipzig spearheaded by
chief editors Helmut Loos
and Wilhelm Seidel. They
determined 500 additional
letters hitherto
unknown.
Versions
of the letter texts have
been compiled from a
scholarly-critical
analysis of the sources,
their historical context
has been discussed and
comments on all points in
need of explanation have
been made.
This
edition of the complete
letters consists of 12
volumes and a CD-ROM.
Each volume contains
indices of mentioned
individuals and
institutions,
compositions by Felix
Mendelssohn Bartholdy and
Fanny Hensel as well as a
register of place names
and currencies. In this
way one obtains an
all-encompassing view of
this unique historical
cosmos.
The
Complete edition has been
produced to the highest
standards in terms of
layout, cover and
binding. It is an ideal
collector’s item
for bibliophiles,
providing an excellent
means for studying the
composer and the period
in which he
lived.
The CD-ROM
forms a valuable addition
to the printed volumes.
It offers the complete
printed edition in the
form of pdf. files,
thereby making its
approximately 9,500 pages
digitally accessible and
enabling letters and the
corresponding commentary
to be read in parallel.
All terms can be located
quickly and conveniently
via a full text
search. (The 12
volumes as well as the
CD-ROM can only be
purchased
complete).
-
German text
only
The
Editors Helmut Loos is
Professor of Musicology
at the University of
Leipzig. He specialises
in the music of the 19th
and 20th centuries, in
particular the reception
of Beethoven, sacred
music and links between
Germany and Central and
Eastern Europe.
Wilhelm Seidel was
professor at the
universities of
Heidelberg, Marburg and
Leipzig. His publications
are devoted to the
temporal structure of
music, music aesthetics
in the 18th and 19th
centuries and music of
the 16th to 20th
centuries, currently on
Mozart and
Mendelssohn.
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.
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. Vocal
score. Warb E 14.
Duration 5 minutes. Carus
Verlag #CV 38.104/03.
Published by Carus Verlag
(CA.3810403).
ISBN
9790007143978. 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 available
separately - see item
CA.3810400.
Cantata
for the 3rd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Paul Horn.
This edition: urtext. 1x
31.133/21 oboe d'amore 1,
1x 31.133/22 oboe d'amore
2, 1x 31.133/31 cornett.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Christmas. Set of
Orchestra Parts. Composed
1724. BWV 133. Duration
20 minutes. Carus Verlag
#CV 31.133/09. Published
by Carus Verlag
(CA.3113309).
ISBN
9790007207977. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note figures.
Score and parts available
separately - see item
CA.3113300.
Cantata
for the 3rd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Christmas.
Set of Orchestra Parts.
Composed 1724. BWV 133.
152 pages. Duration 20
minutes. Carus Verlag #CV
31.133/19. Published by
Carus Verlag
(CA.3113319).
ISBN
9790007141127. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note figures.
Score and parts available
separately - see item
CA.3113300.
Cantata for the 3rd
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Tobias Rimek. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Christmas. Full score.
Composed 1724. BWV 133.
36 pages. Duration 20
minutes. Carus Verlag #CV
31.133/00. Published by
Carus Verlag
(CA.3113300).
ISBN
9790007097486. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note
figures.
Choir SKU: CA.3113305 Cantata for the 3rd day of Christmas. Compos...(+)
Choir
SKU:
CA.3113305
Cantata
for the 3rd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Christmas. Choral
Score. Composed 1724. BWV
133. 4 pages. Duration 20
minutes. Carus Verlag #CV
31.133/05. Published by
Carus Verlag
(CA.3113305).
ISBN
9790007161934. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note figures.
Score available
separately - see item
CA.3113300.
Cantata
for the 3rd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Christmas.
Single Part, Organ.
Composed 1724. BWV 133.
16 pages. Duration 20
minutes. Carus Verlag #CV
31.133/49. Published by
Carus Verlag
(CA.3113349).
ISBN
9790007207984. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note figures.
Score and part available
separately - see item
CA.3113300.
Choir Secular Double Choir and Violoncello SKU: PE.EP73479 Composed by Fr...(+)
Choir Secular Double
Choir and Violoncello
SKU: PE.EP73479
Composed by Francis Pott.
Choral Works (inc.
Oratorios). Edition
Peters. Living Composer.
Vocal Score. 164 pages.
Edition Peters
#98-EP73479. Published by
Edition Peters
(PE.EP73479).
ISBN
9790577019888. 297 x
210mm inches.
English.
At
First Light was
commissioned by Eric
Bruskin, a resident of
Philadelphia, USA, in
memory of his mother.
Eric had a longstanding
enthusiasm for my work,
and I was touched to be
the person he approached
for a task which is both
a privilege and a
daunting responsibility.
In a sense, no music can
ever measure up to the
weight of love or the
hope of consolation
vested in it under such
circumstances - but in
memory I carry the deaths
of both my own parents,
and I was able to draw
upon that. Eric's
fondness for my Cello
Sonata (itself written in
memoriam) led him to ask
that I include a solo
'cello part in the new
work - but his attachment
also to my polyphonic
sacred choral writing
meant that he wanted a
centrepiece which would
be both a showcase of
that approach and the
celebration of a life
well lived. Therefore,
the seven movements of At
First Light arrange
themselves as a series of
slow meditations
surrounding an exuberant
9-minute motet in which
the lamenting cello falls
temporarily
silent.
Eric's
Jewish faith meant that
approaching an agnostic
humanist brought up
within the Anglican
tradition was hardly free
of problems! Gradually,
though, I was able to win
his approval for a
collated mosaic of texts.
This embraces some
liturgical Latin
(necessary for the motet)
as the shared preserve of
broad western culture in
general, but balances it
with a secular approach
to loss, celebration,
remembrance and the many
shades of our mourning
those whom we see no
longer. Eric was adamant
that he did not want the
title Requiem; but what
has emerged is still a
form of semi-secular
Requiem in all but name,
taking its title instead
from a phrase in the poem
by Thomas Blackburn set
as the third movement.
This seemed to suggest
succinctly how the loss
of one very close to us
is an awakening into an
unfamiliar world where
everything is changed.
Following the exuberant
central movement, the
texts by the
Lebanese-born Kahlil
Gibran and the US,
Kentuckian poet Wendell
Berry first address the
departed loved one
directly, then place us
within an imaginary
funeral cortege, where
the perennial and
universal in human
experience become
personal without
subscribing explicitly to
any particular faith (or
lack of it). The final
text of all is a
translation of a Hebraic
prayer, requested and
provided by Eric Bruskin,
which serves to mirror
its Latin counterpart
heard at the
outset.
Throughout
, the lamenting cello
represents a commentary
on the experience
articulated in the text.
It evokes and, in a
sense, tries to embrace
and sanctify the
individual existential
journeys of the bereft,
as they in turn seek to
make their own sense of
what the short-lived
Second World War poet
Alun Lewis called 'the
unbearable beauty of the
dead' (movement
5).
In a modern
world hostage to ever
greater menace,
displacement, bloodshed
and anguish, I hope
fervently that this music
not only brings a measure
of solace to the person
who commissioned it, but
also makes its own small
contribution to bailing
out the sinking ship of
humanity.
SATB choir SKU: ST.EM13 Composed by Thomas Weelkes. Edited by Edmund H Fe...(+)
SATB choir
SKU:
ST.EM13
Composed by
Thomas Weelkes. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Collection.
Stainer & Bell Ltd.
#EM13. Published by
Stainer & Bell Ltd.
(ST.EM13).
ISBN
9790220218019.
CONT
ENTS Alas! tarry but
one half hour (SST )
As deadly serpents
lurking (SA (or S) T
) As Vesta was
descending (SSATTB )
Ay me, alas, hey ho (SST
) Come lets begin to
revel At out (SSA (or T)
) Come sirrah, Jack
ho (SSA (or T) )
Death hath deprived me
(SS (or A) T (or A) TBB
) Donna il vostro bel
viso (SSA (or T) ) Fa
la. Now weep and sing (SA
(or S) T (or B) )
Four arms, two necks, one
wreathing (SSA ) Ha
ha! this world doth pass
(SST (or A) ) I bei
ligustri e rose (SSA
) Jockey thine
horn-pipeAs dull (SSA (or
T) ) Late in my rash
accounting (SSA (or T)
) Lord when I think
(SSA (or T) ) No,
though I shrink still
(SSA ) Say, wanton,
will you love me? (SSA
(or T) ) Since Robin
Hood (SA (or S) T )
Some men desire spouses
(SSA ) Strike it up,
Tabor (SST ) Tan ta
ra cries Mars (SSA (or T)
) The Ape, the Monkey
and Baboon (SSA ) The
gods have heard my vows
(SSA ) The
nightingale, the organ of
delight (SSA (or T) )
Though my carriage be but
careless (SSA )
Tomorrow is the marriage
day (SSA (or T) )
Upon a hill the bonny boy
(SSA ).
O nata lux Chorale SATB SATB, Piano - Intermédiaire GIA Publications
SATB choir, piano reduction - Intermediate SKU: GI.G-10154 Composed by Th...(+)
SATB choir, piano
reduction - Intermediate
SKU: GI.G-10154
Composed by Thomas
Tallis. Edited by Simon
Carrington. Evoking
Sound. Music Education.
Octavo. 8 pages. GIA
Publications #10154.
Published by GIA
Publications
(GI.G-10154).
Latin.
Text Source: Hymn at
Lauds for the Feast of
the Transfiguration. Text
by David
Scheidler.
SATB choir, piano reduction - Early intermediate SKU: GI.G-9963 Composed ...(+)
SATB choir, piano
reduction - Early
intermediate
SKU:
GI.G-9963
Composed by
Thomas Morley. Edited by
Simon Carrington. Evoking
Sound. Music Education.
Octavo. 8 pages. GIA
Publications #9963.
Published by GIA
Publications (GI.G-9963).
UPC: 785147996309.
English, Latin. Text
Source: Attr. John
Redford, ca.
1500&ndash,1547. Text by
John Redford.