Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Cantata for a wedding. Composed by Johann Sebastian Bach (1685-1750). Edi...(+)
Cantata for a
wedding. Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Solvej Donadel. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas;
Wedding. Full score.
Composed 1708. 36 pages.
Duration 14 minutes.
Carus Verlag #CV
31.196/00. Published by
Carus Verlag
(CA.3119600).
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Composed by Captian Francis Saltus Van Boskerck / Capt. Alfred H. Miles / Charle...(+)
Composed by Captian
Francis Saltus Van
Boskerck / Capt. Alfred
H. Miles / Charles A.
Zimmerman / Edmund L.
Gruber / Lt. Col.Robert
Crawford. Arranged by
Larry Clark / Greg
Gilpin. Flexible Band
Series. Score and
part(s). With Standard
notation. Duration 7
minutes, 7 seconds. Carl
Fischer #XPS13. Published
by Carl Fischer
(CF.XPS13).
String quartet SKU: FG.55011-510-1 Composed by Matthew Whittall. Score an...(+)
String quartet
SKU:
FG.55011-510-1
Composed by Matthew
Whittall. Score and
parts. Fennica Gehrman
#55011-510-1. Published
by Fennica Gehrman
(FG.55011-510-1).
ISBN
9790550115101.
Matt
hew Whittall's preface to
Bright Ferment (2019): I
have a complicated
history with the string
quartet. Actually, it's
not that complicated. I
spent months writing a
huge one in my early
twenties and hastily
withdrew it after a long
delayed premiere, vowing
never to write another.
In a typical case of
karmic retribution, my
fear of the form would
eventually be overcome by
the unrefusable offer to
write the compulsory
piece for the Banff
International String
Quartet Competition in my
native Canada. The short
duration requested, about
nine minutes, also felt
like a good way to wade
gingerly back into the
medium. The title was
originally just a
nice-sounding pair of
words that surfaced in a
brainstorming session
with fellow composer Alex
Freeman over an
injudicious amount of
fermented barley. When I
looked it up later, I
found that it was a
phrase of older coinage,
seemingly used more for
poetic resonance than any
fixed meaning. Ferment by
itself denotes a state of
confusion, change or lack
of order. With bright, it
takes on a more positive
connotation with regard
to society and
creativity: a wild
profusion of ideas barely
checked by reason. (It
may not actually mean
that, but it describes
this piece nicely, so
let's go with it.)
Fermentation in its
trendy culinary usage is
also hinted at via a
recurrent percolating
device of scattered
pizzicati. As one may
guess from the tone of
this introduction, there
is little attempt at
gravity in Bright
Ferment, the only means
by which I felt I could
sidestep the historical
and expressive weight of
the string quartet genre.
Styles, gestures and
moods are tossed around,
cross-cut and abandoned
in
stream-of-consciousness
fashion, connected by
little except an
intuitive sense of
rightness in their
juxtaposition. If the
piece acquires depth in
spite of me, it will only
be because its disparate
parts amplify and
strengthen each other
simply by being together
- much like the ensemble
itself. Bright Ferment
was commissioned by the
Banff Centre for the Arts
and Creativity and the
Canadian Broadcasting
Corporation, with
additional funding from
the Americas Society (New
York), for the 2019 Banff
International String
Quartet Competition.
Duration: ca. 9
minutes.
Canon Noel Orchestre [Conducteur et Parties séparées] Carl Fischer
Composed by Traditional. Arranged by Deborah Baker Monday. Set of Score and P...(+)
Composed by Traditional.
Arranged by Deborah Baker
Monday. Set of Score and
Parts. 8 8 2 5 5 5 8
pages.
Duration 2:30. Carl
Fischer
Music #YAS218. Published
by
Carl Fischer Music
By Fanny Mendelssohn Hensel. Edited by Conrad Misch. Bible. For soprano, alto, m...(+)
By Fanny Mendelssohn
Hensel. Edited by Conrad
Misch. Bible. For
soprano, alto, mixed
choir and orchestra.
First Publication. Level:
intermediate. Piano/vocal
score. Composed 1831.
Duration 20'. Published
by Furore-Verlag (German
import).
Composed by Peter Terry.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+5+5+2+2+5+12 pages.
Duration 2 minutes, 3
seconds. Carl Fischer
Music #YAS181. Published
by Carl Fischer Music
(CF.YAS181).
ISBN
9781491151464. UPC:
680160908967. 9 x 12
inches. Key: B
minor.
Peter
Terry's The Lightning
Catcher celebrates youth
and the mysteries of
summer nights. The wonder
of lightning bugs and the
hours spent chasing,
catching, and releasing
them back are childhood
staples for many. With
bold gestures and
textures, this dramatic
piece takes the audience
back in time to the days
of their youth. The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experiencearememories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naive wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018
. The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experiencearememories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naA-ve wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018
. The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experiencearememories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naA-ve wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018
. The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experiencearememories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naive wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018
. The Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night. These
mysteries include the
wonder of lightning bugs:
spending hours chasing
them, catching them in
jars and then releasing
them back into the night,
only to catch them again
on another perfect night.
Coupled with this
experience are memories
of summer thunderstorms
moving across the Great
Lakes and a certain naive
wish that this too could
be caught in a glass jar
for later release. The
Lightning Catcher is a
dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts. Peter
Terry, 2018. The
Lightning Catcher is a
piece that celebrates
youth and the mysteries
of a summer night. These
mysteries include the
wonder of lightning bugs:
spending hours chasing
them, catching them in
jars and then releasing
them back into the night,
only to catch them again
on another perfect night.
Coupled with this
experience are memories
of summer thunderstorms
moving across the Great
Lakes and a certain
naïve wish that this
too could be caught in a
glass jar for later
release.The Lightning
Catcher is a dramatic
work with big, bold
gestures and textures.
Make sure that you
reserve enough volume and
energy to make the ending
the biggest point in the
piece.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
We're Glad You Came Chorale SATB SATB, Piano [Vocal Score] - Facile Word Music
(A Musical Celebration of the Savior's Birth). Composed by Joel Lindsey...(+)
(A Musical Celebration of
the
Savior's Birth).
Composed by
Joel Lindsey and Jeff
Bumgardner. Arranged by
David
Wise and David Shipps.
For
SATB choir, piano
accompaniment. Musical.
Simply
Word. Christmas.
Difficulty:
easy. Choral score.
Duration
ca. 45 minutes. Published
by
Word Music
Performance/Accompaniment CD (no dialog recorded) Choral (Performance/Accompanim...(+)
Performance/Accompaniment
CD (no dialog recorded)
Choral
(Performance/Accompanimen
t CD)
SKU:
HL.9971289
A
Holiday Musical for Young
Voices. Composed by
John Higgins, John
Jacobson, Mac Huff, and
Roger Emerson. Music
Express Books. Christmas,
Elementary, Holiday,
Musicals, Secular. CD.
Published by Hal Leonard
(HL.9971289).
ISBN
9781423471325. UPC:
884088352172.
5.0x5.0x0.16 inches.
Jacobson/Emerson/Higgins/
Huff.
Decorations
are all in place, and
everything is set for the
upcoming holiday part,
except for an old
dilapidated sleigh off in
the corner with a sign
that reads Marvelous
Magical Sleigh. It's
nothing but a piece of
junk! What was that
noise? Did the sleigh
just move? Join the
holiday adventure of one
small child who believes
in the true meaning of
the holiday and is taken
for a marvelous ride on
one very important and
magical sleigh! This
20-minute easily-produced
holiday revue is perfect
for the teacher on the
go! Suggested for
students in grades 2-5,
the program features 6
songs and connecting
dialog for a large cast
that combine for a
humorous yet touching
performance that requires
minimal rehearsal time.
The Teacher Edition
includes piano/vocal
arrangements, dialog and
choreography by John
Jacobson. Young
performers will enjoy the
full-color singer
editions for extra visual
appeal. The value-packed
Classroom Kit comes
complete with a Teacher
book, 20 singer editions
and a P/A CD. Available
separately: Teacher
Edition, Singer 20-Pak
(full color),
Performance/Accompaniment
CD, Classroom Kit
(Teacher, Singer 20-Pak,
P/A CD). Duration: ca. 20
minutes. Suggested for
grades 2-5.
Unison/2-part children's choir, piano accompaniment - Easy SKU: WD.0806895200...(+)
Unison/2-part children's
choir, piano
accompaniment - Easy
SKU:
WD.080689520099
Composed by Spencer
Dalton. Arranged by
Spencer and Preston
Dalton. Choral, cantatas.
Simply WordKidz.
Christmas. Accompaniment
video. Duration ca. 27
minutes. Word Music
#080689520099. Published
by Word Music
(WD.080689520099).
UPC:
080689520099.
Ginge
r Breadhouse, Carolyn
Bells, Holly Branch,
Candy Cane, Mary,
and...Ned, Ted and Jed!
These are a few of the
names to be found among
the cast of the new
Simply WordKidz Christmas
musical, The Christmas
Cross! Created by Jeff
Slaughter, with tracks
produced and arranged by
the team of Preston and
Spencer Dalton, The
Christmas Cross is a
super-easy-to-learn,
27-minute musical
designed to help you
celebrate the season with
the perfect setting for
your kids choir!
In
the opening scene, Miss
Carolyn Bells, our
children's choir
director, is leading the
kids through their first
rehearsal for this year's
Christmas Extravaganza.
As they begin to share
their thoughts on
Christmas, the heart of
the story comes to the
forefront as Mary begins
to tell everyone about
the Christmas Cross - a
very special ornament
with special significance
- an heirloom, handed
down by her grandmother.
As she explains the
meaning behind the
ornament...You can't have
Christmas without the
Cross..., this fun,
lighthearted musical is
beautifully and simply
transformed into a
powerful message about
the love of God and the
message of the
Gospel.Full of great
new songs, in tandem with
traditional carols and a
humor-filled,
Biblically-sound script,
The Christmas Cross
highlights Jeff
Slaughter's signature
brand of creativity. And,
for the first time, he
brings his unique style
and infectious spirit to
the Simply WordKidz
Series, a fresh line of
EZ-to-Sing-EZ-to-Perform
musicals designed for
both excellence and
accessibility by the
smallest of choirs, or
for choirs with little
rehearsal time. Bring an
extra dose of Christmas
cheer to your performance
through the use of the
production-enhancing DVD
Accompaniment Track
available, from
WordKidz.
Unison/2-part children's choir, piano accompaniment - Easy SKU: WD.0806898822...(+)
Unison/2-part children's
choir, piano
accompaniment - Easy
SKU:
WD.080689882227
Composed by Spencer
Dalton. Arranged by
Spencer and Preston
Dalton. Choral, cantatas.
Simply WordKidz.
Christmas. Listening CD.
Duration ca. 27 minutes.
Word Music #080689882227.
Published by Word Music
(WD.080689882227).
UPC:
080689882227.
Ginge
r Breadhouse, Carolyn
Bells, Holly Branch,
Candy Cane, Mary,
and...Ned, Ted and Jed!
These are a few of the
names to be found among
the cast of the new
Simply WordKidz Christmas
musical, The Christmas
Cross! Created by Jeff
Slaughter, with tracks
produced and arranged by
the team of Preston and
Spencer Dalton, The
Christmas Cross is a
super-easy-to-learn,
27-minute musical
designed to help you
celebrate the season with
the perfect setting for
your kids choir!
In
the opening scene, Miss
Carolyn Bells, our
children's choir
director, is leading the
kids through their first
rehearsal for this year's
Christmas Extravaganza.
As they begin to share
their thoughts on
Christmas, the heart of
the story comes to the
forefront as Mary begins
to tell everyone about
the Christmas Cross - a
very special ornament
with special significance
- an heirloom, handed
down by her grandmother.
As she explains the
meaning behind the
ornament...You can't have
Christmas without the
Cross..., this fun,
lighthearted musical is
beautifully and simply
transformed into a
powerful message about
the love of God and the
message of the
Gospel.Full of great
new songs, in tandem with
traditional carols and a
humor-filled,
Biblically-sound script,
The Christmas Cross
highlights Jeff
Slaughter's signature
brand of creativity. And,
for the first time, he
brings his unique style
and infectious spirit to
the Simply WordKidz
Series, a fresh line of
EZ-to-Sing-EZ-to-Perform
musicals designed for
both excellence and
accessibility by the
smallest of choirs, or
for choirs with little
rehearsal time. Bring an
extra dose of Christmas
cheer to your performance
through the use of the
production-enhancing DVD
Accompaniment Track
available, from
WordKidz.
Unison/2-part children's choir, piano accompaniment - Easy SKU: WD.0806898077...(+)
Unison/2-part children's
choir, piano
accompaniment - Easy
SKU:
WD.080689807725
Composed by Spencer
Dalton. Arranged by
Spencer and Preston
Dalton. Choral, cantatas.
Simply WordKidz.
Christmas. Bulk CD
(10-pak). Duration ca. 27
minutes. Word Music
#080689807725. Published
by Word Music
(WD.080689807725).
UPC:
080689807725.
Ginge
r Breadhouse, Carolyn
Bells, Holly Branch,
Candy Cane, Mary,
and...Ned, Ted and Jed!
These are a few of the
names to be found among
the cast of the new
Simply WordKidz Christmas
musical, The Christmas
Cross! Created by Jeff
Slaughter, with tracks
produced and arranged by
the team of Preston and
Spencer Dalton, The
Christmas Cross is a
super-easy-to-learn,
27-minute musical
designed to help you
celebrate the season with
the perfect setting for
your kids choir!
In
the opening scene, Miss
Carolyn Bells, our
children's choir
director, is leading the
kids through their first
rehearsal for this year's
Christmas Extravaganza.
As they begin to share
their thoughts on
Christmas, the heart of
the story comes to the
forefront as Mary begins
to tell everyone about
the Christmas Cross - a
very special ornament
with special significance
- an heirloom, handed
down by her grandmother.
As she explains the
meaning behind the
ornament...You can't have
Christmas without the
Cross..., this fun,
lighthearted musical is
beautifully and simply
transformed into a
powerful message about
the love of God and the
message of the
Gospel.Full of great
new songs, in tandem with
traditional carols and a
humor-filled,
Biblically-sound script,
The Christmas Cross
highlights Jeff
Slaughter's signature
brand of creativity. And,
for the first time, he
brings his unique style
and infectious spirit to
the Simply WordKidz
Series, a fresh line of
EZ-to-Sing-EZ-to-Perform
musicals designed for
both excellence and
accessibility by the
smallest of choirs, or
for choirs with little
rehearsal time. Bring an
extra dose of Christmas
cheer to your performance
through the use of the
production-enhancing DVD
Accompaniment Track
available, from
WordKidz.
Unison/2-part children's choir, piano accompaniment - Easy SKU: WD.0806895863...(+)
Unison/2-part children's
choir, piano
accompaniment - Easy
SKU:
WD.080689586392
Composed by Spencer
Dalton. Arranged by
Spencer and Preston
Dalton. Choral, cantatas.
Simply WordKidz.
Christmas. DVD preview
pak. Duration ca. 27
minutes. Word Music
#080689586392. Published
by Word Music
(WD.080689586392).
UPC:
080689586392.
Ginge
r Breadhouse, Carolyn
Bells, Holly Branch,
Candy Cane, Mary,
and...Ned, Ted and Jed!
These are a few of the
names to be found among
the cast of the new
Simply WordKidz Christmas
musical, The Christmas
Cross! Created by Jeff
Slaughter, with tracks
produced and arranged by
the team of Preston and
Spencer Dalton, The
Christmas Cross is a
super-easy-to-learn,
27-minute musical
designed to help you
celebrate the season with
the perfect setting for
your kids choir!
In
the opening scene, Miss
Carolyn Bells, our
children's choir
director, is leading the
kids through their first
rehearsal for this year's
Christmas Extravaganza.
As they begin to share
their thoughts on
Christmas, the heart of
the story comes to the
forefront as Mary begins
to tell everyone about
the Christmas Cross - a
very special ornament
with special significance
- an heirloom, handed
down by her grandmother.
As she explains the
meaning behind the
ornament...You can't have
Christmas without the
Cross..., this fun,
lighthearted musical is
beautifully and simply
transformed into a
powerful message about
the love of God and the
message of the
Gospel.Full of great
new songs, in tandem with
traditional carols and a
humor-filled,
Biblically-sound script,
The Christmas Cross
highlights Jeff
Slaughter's signature
brand of creativity. And,
for the first time, he
brings his unique style
and infectious spirit to
the Simply WordKidz
Series, a fresh line of
EZ-to-Sing-EZ-to-Perform
musicals designed for
both excellence and
accessibility by the
smallest of choirs, or
for choirs with little
rehearsal time. Bring an
extra dose of Christmas
cheer to your performance
through the use of the
production-enhancing DVD
Accompaniment Track
available, from
WordKidz.
Choral SATB choir SKU: CF.CM9606 Composed by Paul Salerni. Fold. Performa...(+)
Choral SATB choir
SKU:
CF.CM9606
Composed by
Paul Salerni. Fold.
Performance. 8 pages.
Duration 3 minutes, 17
seconds. Carl Fischer
Music #CM9606. Published
by Carl Fischer Music
(CF.CM9606).
ISBN
9781491154281. UPC:
680160912780. 6.875 x
10.5 inches. Key: C
major. English. Charles
A. Coffin
(1844-1926).
Be
thlehem Carol was
the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedrals music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedralas music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for athe cave of
Bethlehema and athe child
of poverty.a)A But most
of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral’s music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for “the cave
of Bethlehem†and
“the child of
poverty.â€) But
most of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child.
Cage for One Ensemble de Percussions [CD|Score] Peters
By Dwayne Corbin. For 1 Percussion (w/CD). Multiple-percussion solo with soundsc...(+)
By Dwayne Corbin. For 1
Percussion (w/CD).
Multiple-percussion solo
with soundscape in three
movements. Includes score
with CD (the CD includes
the soundscapes required
to perform movements I
and II, and also a
demonstration performance
of the entire work).
Modern. Solo part and CD.
13 pages. Duration circa
11 minutes
Malaika Chorale SATB SATB, Percussion(s) Carl Fischer
Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. ...(+)
Angel. Composed by
Fadhilli
William Mdawida. Arranged
by
Russell L. Robinson. Sws.
Octavo. 16 pages.
Duration 3
minutes, 4 seconds. Carl
Fischer Music #CM9650.
Published by Carl Fischer
Music
Scande coeli limina Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Facile Carus Verlag
(Offertorium in festo Sti Benedicti). By Wolfgang Amadeus Mozart (1756-1791). Ar...(+)
(Offertorium in festo Sti
Benedicti). By Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Eberhard Kraus. For
Soprano Voice Solo, SATB
Choir, 2
Clarinos/Trumpets,
Timpani, 2 Violins, Basso
continuo. This edition:
Paperbound. C-Dur (C
major). Stuttgart Urtext
editions. Score available
separately - see item
CA.4004200. Cantatas,
Special days. Level 3.
Vocal score. Language:
Latin. Composed circa
1766/76. KV 34. 12 pages.
Duration 4 min. Published
by Carus Verlag
Missa pastoralis bohemica Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Vocal Score] - Facile Carus Verlag
(Bohmische Hirtenmesse). By Jakub Jan Ryba (1765-1815). Edited by Milan Kuna. Fo...(+)
(Bohmische Hirtenmesse).
By Jakub Jan Ryba
(1765-1815). Edited by
Milan Kuna. For Soli
SATB, SATB Choir, Flute,
2 Clarinets, 2 Horns,
Trumpet, Timpani, 2
Violins, Viola,
Cello/Contrabass, Organ.
This edition: Paperbound.
Score available
separately - see item
CA.4067800. Masses,
German, Masses, Latin,
Christmas. Level 2. Vocal
score. Language:
Czech/German. 64 pages.
Duration 37 min.
Published by Carus Verlag
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Sco...(+)
Orchestra violin, piano
SKU: CF.B3470
Composed by Julia Perry.
Set of Score and Parts.
26+13 pages. Duration 17
minutes. Carl Fischer
Music #B3470. Published
by Carl Fischer Music
(CF.B3470).
ISBN
9781491159460. UPC:
680160918058.
The
awardee of two Guggenheim
fellowships, Julia Perry
studied composition with
Luigi Dallapiccola and
Nadia Boulanger, and
conducted her works on a
tour throughout Europe
with the Vienna
Philharmonic and the BBC
Orchestra. She would
become one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic. Although
she had an auspicious and
promising career in her
early life, it was
tragically cut short by a
series of strokes leading
to partial paralysis and
eventually, her death, at
age 55 in
1979.Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, shows the influence
of Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument. Angular,
muscled, and sparkling by
turns, this piece is a
sophisticated entry to
the serious violinist's
concert repertoire.There
is no evidence or
documentation that the
Violin Concerto was ever
premiered or performed
during her lifetime,
despite the fact that the
composer prepared a full
score, piano reduction
and orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life. What is
extraordinary about Julia
Perry’s musical
career was the
astonishing success she
attained in her early
years. In her youth she
studied piano, voice,
violin and cello. She
began to compose in her
teenage years, her first
publication being a
choral work in 1947 by
Carl Fischer. Her Stabat
Mater was published in
1951 and would become one
of her most often
performed pieces, with
performances in Europe
and the United States. In
1953 she was awarded a
Guggenheim fellowship to
study with the Italian
composer Luigi
Dallapiccola, first at
the Berkshire Music
Center in Tanglewood,
later in Florence, Italy.
During this time, she
also pursued studies with
Nadia Boulanger in Paris
and was awarded a second
Guggenheim fellowship.
She studied conducting at
this time, touring Europe
in 1957 to conduct her
own works with the Vienna
Philharmonic and the BBC
Orchestra. During her
European sojourns, she
learned and mastered
French, German and
Italian. She would become
one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic.Perryâ€
s circumstances would
change dramatically once
she reached forty years
of age, having returned
permanently to the United
States. At some point in
the spring of 1970, she
suffered the first of two
strokes that would
paralyze her right side
and confine her to a
wheelchair for the rest
of her life. Nonetheless,
she continued to compose
and to promote her works
with publishers and
conductors. A second
stroke contributed to her
death in 1979 at age 55.
She likely endured harsh
ethnic and gender
discrimination in the
course of her career, and
her later years would
witness a period of
extreme civil unrest.
These matters and the
significance of music in
her life are undoubtedly
what led her to say,
“Music has a great
role to play in
establishing the
brotherhood of
man.â€Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, is indicative of
the influence of
Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
The work is a single
movement of 392 measures
organized around three
alternating tempos: Slow
(Å’ = 60), Moderate
(Å’ = 84) and Fast
(Å’ = 120). The
opening thirty-measure
cadenza for the solo
violin introduces most of
the thematic material for
the piece. The
orchestration commonly
features antiphonal
writing between
orchestral groups, for
example, strings
alternating with brass,
or strings alternating
with winds. The harp and
piano generally appear as
solo instruments, rather
than as members of the
orchestra. Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument.There is no
evidence or documentation
that the Violin Concerto
was ever premiered or
performed during her
lifetime, despite the
fact that the composer
prepared a full score,
piano reduction and
orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life.
Choral (orchestration on CD-rom) SKU: HL.35028592 Composed by Joseph M. M...(+)
Choral (orchestration on
CD-rom)
SKU:
HL.35028592
Composed
by Joseph M. Martin.
Shawnee Sacred. General
Worship, Lent. CD-ROM,
Score and Parts.
Published by Shawnee
Press (HL.35028592).
UPC: 884088694166.
5x5.5
inches.
Uses: General,
Lent
Scripture:
John
15:9-17
The
companionship we
experience in our
personal walk of faith is
explored in this
compelling sacred lyric.
Joined with an arching
melodic gesture, this
expressive theme develops
into a rich harmonic
chorus calling us into a
deeper relationship with
the Savior. Logical
progressions enable
learning while a
supportive piano part
provides a sure
foundation for the
success of your ensemble.
Available separately:
SATB, LiteTrax CD,
Orchestration (Score &
parts for 2 Tpts, Horn,
Tbone, Tuba, Timp),
Digital Handbells (4-5
octaves). Duration: ca.
4:14.
Kantate zum 19. Sonntag nach Trinitatis. By Johann Sebastian Bach. Edited by Hor...(+)
Kantate zum 19. Sonntag
nach Trinitatis. By
Johann Sebastian Bach.
Edited by Horn, Paul /
Leisinger, Ulrich. For
Bass Solo, SATB Choir
(Schlusschor) / 2 Oboes,
Taille (English Horn),
Cello solo, 2 Violins,
Viola, Cello/Contrabass,
Organ. BWV 56. Full score
available separately -
see item CA.3105600.
Cantatas; Stuttgart
Urtext editions; Use
during church year: End
of the church year.
Piano/Vocal score.
Language: German/English.
Composed 1726. 24 pages.
Duration 21 min.
Published by Carus Verlag
(German import).
Choral (CD 10-pak) SKU: HL.35028365 Composed by Joseph M. Martin. Shawnee...(+)
Choral (CD 10-pak)
SKU: HL.35028365
Composed by Joseph M.
Martin. Shawnee Sacred.
Advent, Christmas. CD
only. Published by
Shawnee Press
(HL.35028365).
UPC:
884088651640. 5x5 inches.
Joseph M.
Martin.
Uses: Advent,
Christmas
Scrip
ture: Luke
2
From the
composer of Tapestry
of Light and The
Winter Rose comes a
new major work that is
based on the traditional
“Lesson and
Carols” service.
Filled to overflowing
with beloved carols and
original seasonal songs,
this cantata tells the
story of Christ's birth
adorned with beautiful
arrangements and
meaningful Scriptures.
The work includes
optional moments for
congregational
participation, handbell
ringers, and children's
choir, if desired.
Stunning orchestrations
and a full line of
support products are
available to support your
presentation. Titles
include: A Christmas
Overture; O Come, All Ye
Faithful; A Prayer for
Advent; People of
Promise, Arise!; Song of
Hope and Joy; O Little
Town of Bethlehem; My
Soul Doth Magnify the
Lord; Lullabies of
Bethlehem; Angels We Have
Heard on High; Carols for
Seekers; Let Christmas
Begin; A Christmas
Trilogy. Available
separately: SATB, SAB,
iPrint Orch Cd-rom,
Printed Orchestration,
iPrint Consort Orch
CD-rom, iPrint Handbells
CD-rom, StudioTrax CD,
Listening CD, 10-pack
Listening CDs, Preview
Pack, RehearsalTrax CDs,
Digital Resource Kit.
Duration: ca. 59:21 (full
performance) or ca. 48:37
(w/o opt. congregational
anthems).
Choral (digital production kit) SKU: HL.35028368 Composed by Joseph M. Ma...(+)
Choral (digital
production kit)
SKU:
HL.35028368
Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Christmas. DVD. Published
by Shawnee Press
(HL.35028368).
UPC:
884088651671. 5.25x7.5
inches. Joseph M.
Martin.
Uses: Advent,
Christmas
Scrip
ture: Luke
2
From the
composer of Tapestry
of Light and The
Winter Rose comes a
new major work that is
based on the traditional
“Lesson and
Carols” service.
Filled to overflowing
with beloved carols and
original seasonal songs,
this cantata tells the
story of Christ's birth
adorned with beautiful
arrangements and
meaningful Scriptures.
The work includes
optional moments for
congregational
participation, handbell
ringers, and children's
choir, if desired.
Stunning orchestrations
and a full line of
support products are
available to support your
presentation. Titles
include: A Christmas
Overture; O Come, All Ye
Faithful; A Prayer for
Advent; People of
Promise, Arise!; Song of
Hope and Joy; O Little
Town of Bethlehem; My
Soul Doth Magnify the
Lord; Lullabies of
Bethlehem; Angels We Have
Heard on High; Carols for
Seekers; Let Christmas
Begin; A Christmas
Trilogy. Available
separately: SATB, SAB,
iPrint Orch CD-rom,
Printed Orchestration,
iPrint Consort Orch
CD-rom, iPrint Handbells
CD-rom, StudioTrax CD,
Listening CD, 10-Pack
Listening CDs, Preview
Pack, RehearsalTrax CDs,
Digital Resource Kit
(Power Point,
Poster/Program PDFs,
Rehearsal Tips, Choir
Devotionals, Children's
Program, Composer Bios).
Duration: ca. 59:21 (full
performance) or ca. 48:37
(w/o opt. congregational
anthems).