Composed by English Ballad. Arranged by Russell L. Robinson. Fold. Octavo. 8...(+)
Composed by English
Ballad.
Arranged by Russell L.
Robinson. Fold. Octavo. 8
pages. Duration 2
minutes, 47
seconds. Carl Fischer
Music
#CM9657. Published by
Carl
Fischer Music
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
Voice and Piano SKU: BT.EMBZ20017A New Liszt Edition, Series IX. Vol.2...(+)
Voice and Piano
SKU:
BT.EMBZ20017A
New
Liszt Edition, Series IX.
Vol.2.. By David
Trippett. By Franz Liszt.
EMB New Listz Edition.
Classical. Book
Hardcover. Composed 2019.
180 pages. Editio Musica
Budapest #EMBZ20017A.
Published by Editio
Musica Budapest
(BT.EMBZ20017A).
English-German-Hungari
an.
In 1845 Franz
Liszt embarked on a
project to compose an
Italian opera based on
Lord Byron’s
tragedy, Sardanapalus
(1821). It was central to
his ambition to attain
status as a major
European composer, with
premieres variously
planned for Milan,
Vienna, Paris and London.
But he abandoned it half
way through, and the
music he completed has
lain silently for 170
years.
Liszt’s difficulty
in obtaining a libretto
meant that composition
only began in April 1850.
He completed virtually
all the music for Act 1
in an annotated
piano-vocal score of 111
pages, contained within
his N4 music
‘sketch
book’. The unnamed
librettist was an Italian
poet and political
prisoner, seemingly
living under house
arrest, and a close
acquaintance of Cristina
Belgiojoso. His libretto
survives as underlay in
the N4 sketchbook and has
been critically
reconstructed and
translated.
Sardanapalo is
Liszt’s only
mature opera. While he
consistently referred to
it in French, as
Sardanapale, the
published title of the
Italian opera would
almost certainly have
used the Italian name,
hence this forms the
title of the first
edition. There are three
solo roles and a chorus
of concubines. The
manuscript was previously
thought to be fragmentary
and partially illegible,
but it was finally
deciphered to
international acclaim in
March 2017.
Liszt’s score
offers a richly melodic
style, with elements from
Bellini and Verdi
alongside glimmers of
Wagner and the symphonic
poems ahead: a unique
mixture of Italianate
pastiche and mid-century
harmonic innovation. It
remains quintessentially
Lisztian. The opera sets
Byron’s tragedy
about war and peace in
ancient Assyria: the last
King, effeminate in his
tastes, is drawn to wine,
concubines and feasts
more than politics and
war: his subjects find
him dishonourable (a
‘man queen’)
and military rebels seek
to overthrow him, but are
pardoned, for the King
rejects the ‘deceit
of glory’ built on
others’ suffering:
this leads only to a
larger uprising, the
Euphrates floods its
banks, destroying the
castle’s main
defensive wall, and
defeat is inevitable: the
King sends his family
away and orders that he
be burned alive with his
lover, amid scents and
spices in a grand
inferno. As Byron put it:
‘not a mere pillar
formed of cloud and
flame, but a light to
lessen ages.’ For
his part, Liszt told a
friend that his finale
‘will even aim to
set fire to the entire
audience!’
This critical edition
includes a detailed study
on the genesis of
Liszt’s
Sardanapalo in English,
German, and Hungarian,
the libretto in the
original Italian as well
as in English, German,
and Hungarian
translation, several
facsimile pages of
Liszt’s
manuscript, and a
detailed Critical
Report.
Chorus (with soloists) and piano (solos: Sp MezT2BarB - 2(picc).2(cor ang).2(Bkl...(+)
Chorus (with soloists)
and piano (solos: Sp
MezT2BarB - 2(picc).2(cor
ang).2(Bkl).2(dble bsn) -
3.2.3.0 - timp.perc.(2) -
Cel - str - stage music:
2trp.timp.perc)
SKU:
BR.EB-9433
A
Theatrical Caprice in One
Act. Composed by
Ferruccio Busoni. Choir;
Softbound. Edition
Breitkopf. Opera; Music
theatre; Early modern;
Late-romantic.
Piano/Vocal Score.
Duration 60'. Breitkopf
and Haertel #EB 9433.
Published by Breitkopf
and Haertel (BR.EB-9433).
ISBN 9790004189108. 9
x 12 inches.
German.
Text by the
composerTranslation:
engl. (E. J. Dent), ital.
(V. Levi), port. (G. de
Medeiros)Place and time:
Bergamo, around the 18th
century.Characters: Ser
Matteo del Sarto, master
tailor (baritone) -
Abbate Cospicuo
(baritone) - Dottore
Bombasto (bass) -
Leandro, Cavaliere
(tenor) - Arlecchino
(speaking part) -
Colombina, Arlecchino's
wife (mezzo-soprano) -
Annunziata, Matteo's wife
- Zwei Sbirren - Ein
Karrner - a Donkey -
People at the windows
(silent parts)The idea
behind this work was to
combine a major speaking
role with a part for a
female singer and
orchestra in the spirit
of the opera buffa. The
overall tone is
pacifistic and
anti-bourgeois. Busoni's
inspiration was that of
an opera-play in the
style of Italian
improvised comedy; he
wanted types and
characters on stage whose
varying typology would
provide the source of
conflict ... The title
hero absconds with the
young wife of the
Dante-reading tailor
Matteo. He returns as a
false barbarian
commander, as a husband
who engages in a duel
with the suitor Count
Leandro, and as a
conqueror who announces
the moral of the story in
the epilogue: how to be
able to bow in rags and
still retain one's
dignity and rights. The
piece takes a turn for
the absurd when the
Abbate, at the sight of
Leandro, who is presumed
dead, begins to sing a
chorale-like song of
praise to the donkey of
Providence who comes
trotting in at that
moment. This introduces
the most musically
refined number in the
piece, the quartet, in
which Leandro's love aria
and his duet with
Columbina satirize the
attitudes prevalent in
Italian opera from
Scarlatti to Verdi.
Musically, Busoni uses
throughout the entire
work an idiom of
dance-like, blissfully
transparent comedy and
hides harmonic audacities
behind touches of
lightness. The orchestral
sound radiates an
incomparable brightness
and buoyant elegance.
(Hans Heinz
Stuckenschmidt,
1967)
In the
appendix, EB 9433
contains the later
composed aria Wer siegt?
Wer fallt?..
Piano (Piano Solo) SKU: HL.48025042 Piano. Composed by Iris ter Sc...(+)
Piano (Piano Solo)
SKU: HL.48025042
Piano. Composed by
Iris ter Schiphorst. BH
Piano. Classical.
Softcover. 20 pages.
Duration 900 seconds.
Bote & Bock #M202521595.
Published by Bote & Bock
(HL.48025042).
ISBN
9781705154212. UPC:
196288021711.
The
work, which the composer
counts among her
favourite pieces, was
inspired by the life and
work of Marguerite Duras.
In her play of the same
name, a Flemish woman
goes to Saigon at the
beginning of the 20th
century, marries a civil
servant and has two
children.After her
husband's death, she also
works as a piano player
at the local 'Eden
Cinema'. Eden Cinema,
which is 'to be played
like a traditional piano
piece from the Romantic
period' according to the
composer, sounds poetic,
but also cool, funny and
extremely modern. Motif
repetitions and ostinatos
play a major role, as
they do with Duras. In
addition, quotations
appear, literal ones from
Beethoven's Hammerklavier
Sonata as well as vague
echoes of dance rhythms
and commonplace music as
used in silent film
theatres. Thepreparation
of the piano strings -
metal parts on the high
ones, rubber pieces on
the low ones - creates a
tonal patina and the
impression of the past -
'in connection with Duras
also recognizable as
traumas sedimented in the
subconscious, whose
indistinct traces
obsessively push to the
surface' (Eckhard
Weber).
Easy Piano - Easy SKU: SP.TS266 Composed by Jonathon Robbins. Arranged by...(+)
Easy Piano - Easy
SKU:
SP.TS266
Composed by
Jonathon Robbins.
Arranged by Jonathon
Robbins. Collection;
Popular. Book and CD.
Santorella Publications
#TS266. Published by
Santorella Publications
(SP.TS266).
ISBN
9781585603664. UPC:
649571002661.
Holid
ay Harmony for Easy Piano
published by Santorella
Publications is
jam-packed with a full
year's worth of holiday
favorites representing 19
major holidays and
events. This well-rounded
collection is fantastic
for September startup
lessons. All songs are
arranged in the order of
the calendar year. From
School Days for Labor Day
to Take Me Out To The
Ballgame for the Spring
to You're A Grand Old
Flag for Independence
Day. Capture the spirit
of any given season with
Holiday Harmony. Each
tune is arranged for easy
piano by Jonathon Robbins
with lyrics included so
everyone can enjoy these
fabulous songs. This
great collection from
Santorella Publications
includes a performance CD
which is a tremendous
tool for any student of
piano. School Days, I've
Been Working on the
Railroad, Funeral March
of Marionette, Over
There, Over the River and
Through the Woods, The
Dreydel Song, Oy
Hanukkah, Silent Night,
Joy to the World, Auld
Lang Syne, Let Me Call
You Sweetheart, Hail to
the Chief, Danny Boy,
Daiyenu, Christ, The Lord
is Risen Today,
M-O-T-H-E-R, When Johnny
Comes Marching Home,
You're a Grand Old Flag,
Pomp and Circumstance,
The Star-Spangled Banner,
Take Me Out to the Ball
Game.
Kantele - beginning Folk, Perfect binding. Method. Book and online audio. 116 ...(+)
Kantele - beginning
Folk, Perfect binding.
Method.
Book and online audio.
116
pages. Mel Bay
Publications,
Inc #30857M. Published by
Mel
Bay Publications, Inc
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. This edition:
Paperbound. Sacred music
from Salzburg. Terra
Tremuit /Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Vocal score.
16 pages. Duration 4
minutes. Carus Verlag #CV
27.110/03. Published by
Carus Verlag
(CA.2711003).
ISBN
9790007088026. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
available separately -
see item CA.2711000.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. Sacred music from
Salzburg. Terra Tremuit
/Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Single Part,
Violin 1. 4 pages.
Duration 4 minutes. Carus
Verlag #CV 27.110/11.
Published by Carus Verlag
(CA.2711011).
ISBN
9790007200527. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
and part available
separately - see item
CA.2711000.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. This edition:
Paperbound. Sacred music
from Salzburg. German
title: Terra Tremuit
/Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Full score.
28 pages. Duration 4
minutes. Carus Verlag #CV
27.110/00. Published by
Carus Verlag
(CA.2711000).
ISBN
9790007087777. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. Sacred music from
Salzburg. German title:
Terra Tremuit
/Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Set of
Orchestra Parts. Duration
4 minutes. Carus Verlag
#CV 27.110/19. Published
by Carus Verlag
(CA.2711019).
ISBN
9790007138899. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
and parts available
separately - see item
CA.2711000.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. Sacred music from
Salzburg. Terra Tremuit
/Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Single Part,
Violin 2. 4 pages.
Duration 4 minutes. Carus
Verlag #CV 27.110/12.
Published by Carus Verlag
(CA.2711012).
ISBN
9790007200534. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
and part available
separately - see item
CA.2711000.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. 1x 27.110/31
clarino, 1x 27.110/32
trombone 1, 1x 27.110/33
trombone 2, 1x 27.110/34
trombone 3. Sacred music
from Salzburg. Terra
Tremuit /Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Set of
Orchestra Parts. 20
pages. Duration 4
minutes. Carus Verlag #CV
27.110/09. Published by
Carus Verlag
(CA.2711009).
ISBN
9790007200510. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
and parts available
separately - see item
CA.2711000.
Offertory for the
Easter Sunday.
Composed by Johann Ernst
Eberlin. Edited by Armin
Kircher. Arranged by Paul
Horn. Sacred music from
Salzburg. Terra Tremuit
/Offertorium
Ostersonntag. Sacred
vocal music, Easter and
Eastertide. Choral Score.
Duration 4 minutes. Carus
Verlag #CV 27.110/05.
Published by Carus Verlag
(CA.2711005).
ISBN
9790007108991. Key: C
major. Language:
Latin.
Eberlin's
programmatic setting of
the offertory Terra
tremuit was written for
the festive liturgy of
Easter Sunday at Salzburg
Cathedral, which in the
17th and 18th centuries
was a center of the
cultivation of the
polyphonic offertory.
Verses 9 and 10 of Psalm
76 (Vulgata 75), with
their vivid description
of the earth trembling
and falling silent are
Eberlin's basis for the
offertory. Eberlin
depicts the earthquake by
means of a written-out
tremolo of the strings,
and by staccato singing
of the syllables of the
word tremuit. The
Resurrection is depicted
musically by ascending
figures at the words dum
resurgere. An Alleluia
concludes the work. Score
available separately -
see item CA.2711000.
by Roger Filiberto. For Guitar (All). technique. All Styles. Level: Intermediate...(+)
by Roger Filiberto. For
Guitar (All). technique.
All Styles. Level:
Intermediate. Book. Size
8.75x11.75. 88 pages.
Published by Mel Bay
Publications, Inc.
Composed by Gail Smith. For piano. Sacred, Christmas. Moderately advanced. Lille...(+)
Composed by Gail Smith.
For piano. Sacred,
Christmas. Moderately
advanced. Lillenas
Publishing Company
#9780787714932. Published
by Lillenas Publishing
Company
By Various. Edited by Hellmann, Diethard / Biller, Georg Christoph. This edition...(+)
By Various. Edited by
Hellmann, Diethard /
Biller, Georg Christoph.
This edition: paperbound.
Sacred, Hymn settings,
Motets; Choral
Collections, Mixed Choir;
Use during church year:
Advent, Christmas. Choral
collection. 64 pages
Composed by Various. Edited by Friedemann Gottschick. This edition: Paperbound. ...(+)
Composed by Various.
Edited by Friedemann
Gottschick. This edition:
Paperbound. Rheinisches
Orgelbuch. Organ music
based on hymns, Advent,
New year, Holy Week,
Easter and Eastertide,
Christmas, Praise and
thanks, Morning, midday,
evening. Collection. 136
pages. Published by Carus
Verlag
(10 Expressive Arrangements Inspired by Mozart Compositions). Arranged by ...(+)
(10 Expressive
Arrangements
Inspired by Mozart
Compositions). Arranged
by
Faye López.
For Piano. Book;
Piano Collection; Piano
Supplemental. Sacred
Performer
Collections. Christmas;
Sacred; Winter. Early
Advanced. 40 pages.
Published
by Alfred Music