Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Violin SKU: BA.BA06629 Spielbuch fur den Unterricht mit gemischten Str...(+)
Violin
SKU:
BA.BA06629
Spielbuch fur den
Unterricht mit gemischten
Streichergruppen.
Composed by Hella
Hartung-Ehlert. Stapled.
Gemeinsam von Anfang an.
Fur den Unterricht mit
gemischten
Streichergruppen. Schulen
fur Violine (Violin
Method). Performance
score. 63 pages.
Baerenreiter Verlag
#BA06629_00. Published by
Baerenreiter Verlag
(BA.BA06629).
ISBN
9790006498871. 21 x 29 cm
inches. Language: German.
Preface: Hella
Hartung-Ehlert.
The
se
“playbocksâ€
form a sequel to the
authors Violin method for
group instruction (BA
6623). They contain
musical games, canons and
songs in simple
arrangements for one to
three identical
instruments, introclucing
children to ensemble
playing during their
first music lessons. Each
arrangement has a melody
part joined by an
accompaniment part on
open strings and a
fingered accompaniment
for more advanced pupils,
so that all children have
a chance to play. The
play- books end with
several four-part pieces
and can be combined for
use in mixed
ensembles.
Vol. 1.
Critical Edition.
Composed by Nicola
Fiorenza. Edited by
Giovanni Borrelli.
Hardback (Cloth Hard
Cover). Napoli e
l’Europa (Naples
and Europe). Classical.
Critical commentary. Ut
Orpheus #NAP 4. Published
by Ut Orpheus (UT.NAP-4).
ISBN 9790215318373. 9
x 12
inches.
Concerto
in Mi bem. magg. per
Violino principale, 2
Violini, Viola e Basso;
Concerto in Re min. per 2
Violini e Basso (1728);
Concerto in La magg. per
3 Violini e Basso
(1728)_x0008_; Concerto
in La min. per 3 Violini
e Basso (1727)_x0008_;
Concerto in La min. per 3
Violini e Basso; Sinfonia
in Fa min. a 2 Violini e
Basso; Sinfonia in Sol
magg. a 3 Violini e
Basso; Sinfonia fugata in
Fa min. a 3 Violini e
Basso; Sinfonia in Do
min. a 4 Violini e Basso;
Trio in Si min. per 2
Violini e
Cembalo
Nicola
Fiorenza (1700?-1764),
composer and virtuoso
Neapolitan violinist,
lived during the first
half of the 1700s. His
musical production, whose
manuscripts are preserved
for the big part in the
Library of the
Conservatorio di Musica
S. Pietro a Majella in
Naples, is composed of 15
concerts with different
instrumental organics, 9
symphonies whose
principal instrument is
the violin – that
sometimes proposes pieces
with a lot of
virtuosities typical of
the solo concert
–, some pieces for
one or two instruments
with continuo and two
cantatas. Skilled
virtuoso, Fiorenza had
assimilated both the
style of the elegant
Baroque of French school,
and the a terrazze style,
the improvised language
typical of the Venetian
composers. He knew the
style of the Concerto
Grosso of Corelli very
well, to which he joined
a dressy counterpoint
maybe too much present
for the style of that
time. Fiorenza elaborated
different styles,
filtering them through
his sensitive
predilection towards the
Neapolitan party music
and the popular melody,
developing a personal
composite language that
doesn’t consider
him belonging to one of
the schools of his time.
From a formal point of
view and for the choice
of the instrumental
organic, his compositions
have not a strong
stylistic individuality
in comparison with the
composite canons of the
first part of the XVIII
century, but the
production of Fiorenza
seems to reflect the
schemes and the composite
forms typical of the late
Baroque. His choice of
the incisive brevity of
the thematic figures is
typical of the XVII
century, that almost
never overcomes the
breath and the circle of
one or few beats.
Fiorenza’s solo
compositions show his
research of virtuosities,
but he never lapses into
a rash virtuosity, on the
contrary he maintains a
gallant taste.
SATB Choir SKU: BT.MUSM570200641 Composed by Anne Boyd. Classical. Vocal ...(+)
SATB Choir
SKU:
BT.MUSM570200641
Composed by Anne Boyd.
Classical. Vocal Score.
64 pages. University of
York Music Press
#MUSM570200641. Published
by University of York
Music Press
(BT.MUSM570200641).
English.
Jesus
Reassures His Mother is a
setting of medieval lyric
poetry written
anonymously in the 14th
century. The poet
recounts a vision of the
young Mary rocking the
infant Christ to sleep.
The child requests his
mother to sing a lullaby
but, alas, knowing her
child’s fate she is too
sad to sing. Jesus tells
her that all mothers
worry about their
children’s futures and
insists that she should
sing nevertheless. Mary
recounts the visit of
Gabriel and the events of
Christ’s birth but
reflects how sad it is to
have delivered a child to
such a fate. Jesus
reassures his mother that
he will be with his
father in heaven where
Mary will come to join
Him at the end of time,
there to livein eternal
bliss. At this point Mary
is persuaded by and
echoes her child’s
reassuring words, and she
is joined in this by the
choir (now representing
us all). The vision fades
away in the voice of the
narrator whose loneliness
and longing return. We
learn that it is
Christmas Day. This
setting grows from the
visionary mystical world
inhabited by Julian of
Norwich whose Revelations
of Divine Love provided
the inspiration for a
work Anne Boyd composed
in 1994. The medium has
been expanded from the
Song Company’s six solo
voices used in the
Revelations to the double
motet choir of the Sydney
Philharmonia who
commissioned this work
for their 75th
anniversary. The parts of
the infant Jesus, Mary,
the Narrator and the
angel Gabriel are taken
by choir soloists:
soprano, alto, tenor and
bass. The work is
situated in the context
of Boyd ’s personal
musical aesthetic which
she describes as the
intersection of Christian
Love with Buddhist
silence.
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by
Dan
Coates. For Piano. This
edition: Easy Piano.
Book;
Piano - Easy Piano
Collection.
The Giant Book of Sheet
Music.
Jazz. Easy Piano. 252
pages.
Published by Alfred Music
Orchestra; children's choir (2 equal voices) and speakers ad libitum - intermedi...(+)
Orchestra; children's
choir (2 equal voices)
and speakers ad libitum -
intermediate to advanced
SKU: HL.49013780
Eine kleine
Instrumentenschau.
Composed by Gerhard
Maasz. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Choral Score. 1 pages.
Duration 15'. Schott
Music #CON 184-01.
Published by Schott Music
(HL.49013780).
ISBN
9790001135924.
German.
Gerhard
Maasz studied composition
with Paul Graener and
sympathized with the
youth music movement
around Fritz Jode. In the
kleine Instrumentenschau
created in 1977 he uses
the popular folk song Wir
sind die Musikanten
(which can be joined in
by a one-part chorus)
introducing
systematically the
individual orchestral
ins-tru-ments. A work for
children's and school
concerts allowing the
players and listeners an
insight into the
structure of an orchestra
in a cheerful way.
Orchestra; children's choir (2 equal voices) and speakers ad libitum - intermedi...(+)
Orchestra; children's
choir (2 equal voices)
and speakers ad libitum -
intermediate to advanced
SKU: HL.49001881
Eine kleine
Instrumentenschau.
Composed by Gerhard
Maasz. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. 36 pages. Duration
15'. Schott Music #CON
184. Published by Schott
Music (HL.49001881).
ISBN 9790001024679.
German.
Gerhard
Maasz studied composition
with Paul Graener and
sympathized with the
youth music movement
around Fritz Jode. In the
kleine Instrumentenschau
created in 1977 he uses
the popular folk song Wir
sind die Musikanten
(which can be joined in
by a one-part chorus)
introducing
systematically the
individual orchestral
ins-tru-ments. A work for
children's and school
concerts allowing the
players and listeners an
insight into the
structure of an orchestra
in a cheerful way.
Voice, Piano SKU: FG.042-08585-1 Composed by Armas Jarnefelt. Edited by M...(+)
Voice, Piano
SKU:
FG.042-08585-1
Composed by Armas
Jarnefelt. Edited by
Matti Tuloisela. Album.
Published by Fennica
Gehrman (FG.042-08585-1).
ISBN
979-0-042-08585-1.
The collection of the
main solo songs by Armas
Jarnefelt was accelerated
by a donation made by his
son, Arvi, in Stockholm
to the University of
Helsinki: dozens of
previously unpublished
manuscripts thus found
their way home to
Finland. Sweden was
father Jarnefelt's second
home, since he spent a
couple of decades as
conductor of the Royal
Opera in Stockholm. He
concentrated almost
exclusively on solo
songs, the reason no
doubt being that his
father-in-law was Jean
Sibelius, a master of
large-scale form.
Jarnefelt's vocal lyrics
spring from the
National-Romantic ethos
nurtured on the archaic
rune-singing of the
national epic, the
Kalevala, and the distant
lands of Karelia. The
folk-like elements of his
youthful songs were in
time joined by
Impressionistic and in
places even
Expressionistic timbres.
This collection is edited
by Matti Tuloisela.
Contents: Aallon
kehtolaulu / Vagens
vaggsang / Der Welle
Wiegenlied * Am stillen
Dorfe erhebt sich *
Berceuse / Kehtolaulu *
En spel- och dansvisa *
Hamara / Skymning /
Dammerung * I
solnedgangen / Im
Sonnenuntergang *
Isanmaan kasvot *
Kanteleelle * Kehtolaulu
/ Vaggsang (Liekku liiku)
* Kehtolaulu / Vaggsang
(Hiljaa, hiljaa) * Laula,
laula! * Leivo / Larkan *
Liina / Lina / Line *
Milloin muistelet minua?
/ Sag, nar minnes du mig?
/ Sag', gedenkst Du
meiner? * Nar alla
klockor klamtat tolf /
Wenn alle Uhren zwolf
geschlagen * Sina / Du *
Solsken / Sonnenschein *
Sunnuntaina / Sondag *
Suvirannalla / Sommarnatt
pa stranden * Titania *
Toivoni / Onskan *
Uneksijan laulu elamalle
/ En drommarens sang till
livet / Eines Traumers
Sang an das Leben *
Unelma / Drom * Viel' ois
virtta tieossani / An en
visa vill jag sjunga.
Violoncello SKU: BA.BA06660 Spielbuch fur den Unterricht mit gemischte...(+)
Violoncello
SKU:
BA.BA06660
Spielbuch fur den
Unterricht mit gemischten
Streichergruppen.
Composed by Hella
Hartung-Ehlert. Stapled.
Gemeinsam von Anfang an.
Fur den Unterricht mit
gemischten
Streichergruppen. Schulen
fur Violoncello (Cello
Method). Performance
score. 63 pages.
Baerenreiter Verlag
#BA06660_00. Published by
Baerenreiter Verlag
(BA.BA06660).
ISBN
9790006499786. 21 x 29 cm
inches. Language: German.
Preface: Hella
Hartung-Ehlert.
The
se
“playbocksâ€
form a sequel to the
authors Violin method for
group instruction (BA
6623). They contain
musical games, canons and
songs in simple
arrangements for one to
three identical
instruments, introclucing
children to ensemble
playing during their
first music lessons. Each
arrangement has a melody
part joined by an
accompaniment part on
open strings and a
fingered accompaniment
for more advanced pupils,
so that all children have
a chance to play. The
play- books end with
several four-part pieces
and can be combined for
use in mixed
ensembles.
Viola SKU: BA.BA06644 Spielbuch fur den Unterricht mit gemischten Stre...(+)
Viola
SKU:
BA.BA06644
Spielbuch fur den
Unterricht mit gemischten
Streichergruppen.
Composed by Hella
Hartung-Ehlert. Stapled.
Gemeinsam von Anfang an.
Fur den Unterricht mit
gemischten
Streichergruppen. Schulen
fur Viola (Viola Method).
Performance score. 63
pages. Baerenreiter
Verlag #BA06644_00.
Published by Baerenreiter
Verlag (BA.BA06644).
ISBN 9790006499779. 21
x 29 cm inches. Language:
German. Preface: Hella
Hartung-Ehlert.
The
se
“playbocksâ€
form a sequel to the
authors Violin method for
group instruction (BA
6623). They contain
musical games, canons and
songs in simple
arrangements for one to
three identical
instruments, introclucing
children to ensemble
playing during their
first music lessons. Each
arrangement has a melody
part joined by an
accompaniment part on
open strings and a
fingered accompaniment
for more advanced pupils,
so that all children have
a chance to play. The
play- books end with
several four-part pieces
and can be combined for
use in mixed
ensembles.
Organ: 2-staff - Moderately Easy SKU: LO.70-2181L Composed by Matthew Mcc...(+)
Organ: 2-staff -
Moderately Easy
SKU:
LO.70-2181L
Composed
by Matthew Mcconnell.
Sacred. Lorenz Publishing
Company #70/2181L.
Published by Lorenz
Publishing Company
(LO.70-2181L).
ISBN
9780787764982.
Each
organ arrangement in this
collection from Matthew
McConnell combines two
well-known hymn tunes.
The tunes have been
paired according to
various factors: key
relationships, melodic
contours, textual
associations,
similarities between
liturgical themes, and
more. All pieces, when
used creatively, can help
reinforce the thematic
message of a particular
service, especially
before or after the
congregation sings a hymn
from a given pairing.
By Moira Hayward. Songbooks and Methods. Tune a Day. Book and CD (97 tracks), In...(+)
By Moira Hayward.
Songbooks and Methods.
Tune a Day. Book and CD
(97 tracks), Instrumental
Tutor. Text language:
English. 64 pages.
Published by Boston Music
Moderately Easy SKU: WD.080689521171 Composed by Marty Parks. Choral, can...(+)
Moderately Easy
SKU:
WD.080689521171
Composed by Marty Parks.
Choral, cantatas. Choral
Festival Favorites. Book.
Word Music #080689521171.
Published by Word Music
(WD.080689521171).
UPC:
080689521171.
Imagi
ne almost a thousand
voices raised in glorious
harmony, singing songs of
the faith and accompanied
by a grand church band
and orchestra, as
together they offer their
adoration and worship to
our Lord and Savior Jesus
Christ!
That is
exactly what has happened
each and every year for
the past decade or more
at the annual Choral
Festival in Spartanburg
S. C., sponsored by our
friends at Christian
Supply. Each year, Choral
Festival has commissioned
one of the church's
favorite choral arrangers
and personalities, Marty
Parks, to arrange The
Opener – a medley
of hymns, praise
choruses, worship songs,
and gospel favorites
blended together in an
opening presentation that
gives the event its
signature launch every
year! Having long been a
favorite element of the
conference year after
year, many have asked,
Where can I get those
arrangements for my
church? or Are those
arrangements available
for my choir?.
Well, your wait is over!
Word Music & Church
Resources is excited to
present CHORAL
FESTIVAL
FAVORITES,
created, arranged and
orchestrated by Marty
Parks! We have joined
hands with Marty and
Christian Supply to bring
you this
highly-anticipated book
of blended medleys for
your choir and
congregation. Taking the
same arrangements created
for Choral Festival,
Marty has adapted them
for use on Sundays with
your choir, band, and
orchestra, while leaving
plenty of room and
encouragement for your
congregation to join in
and sing along! We also
offer a powerful DVD
accompaniment and
performance track to
support and enhance your
presentation of these
proven medleys on Sunday
mornings!
Choral Festival
Favorites...direct to
your choir from the pen
of Marty Parks and the
platform of one of the
most influential choral
music conferences over
the past 25 years,
bringing all the parts
and pieces together in
one new, ministry-focused
choral project that will
equip your church for the
ministry of music and
worship worldwide!
Composed by Gwyneth W. Walker (1947-). Americana, Faith, Folk Song, Hope/Assu...(+)
Composed by Gwyneth W.
Walker (1947-).
Americana, Faith, Folk
Song, Hope/Assurance,
Spiritual, Children's
Sabbath/Emphasis. Octavo.
Published by E.C.
Schirmer Publishing
(EC.8230).
SATB Choir and Piano (Choral Score) SKU: HL.14008386 Composed by Sir Pete...(+)
SATB Choir and Piano
(Choral Score)
SKU:
HL.14008386
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical. Book
[Softcover]. Composed
1999. 20 pages. Chester
Music #CH59618. Published
by Chester Music
(HL.14008386).
ISBN
9780711927797. UPC:
884088447434.
7.0x10.0x0.051
inches.
Peter
Maxwell Davies' 1990 work
for unaccompanied SATB
choir, written for the
BBC singers. Words by
George Mackay Brown.
'Written for the BBC
Singers, this piece
requires a high level of
choral expertise in its
rhythms, intricate
textures (though nearly
always in four parts),
wide-ranging vocal lines
and characteristically
dark but luminous
harmony, impregnated with
tritones and seconds. Not
for the first time,
Davies and George Mackay
Brow follow the Stations
of the Cross, though the
fourteen sections are
joined into a continuous
slow-fast-slow musical
movement, and the
references to the events
of Holy Week are oblique.
Vocal score with piano
accompaniment for
rehearsal purposes.