(for Voice and Piano). Composed by Herbert Howells (1892-1983). For Voice, Piano...(+)
(for Voice and Piano).
Composed by Herbert
Howells (1892-1983). For
Voice, Piano
Accompaniment. Music
Sales America. Softcover.
32 pages. Novello and Co
Ltd. #NOV163757.
Published by Novello and
Co Ltd.
By David Marlatt. For Brass Quintet. Brass Ensemble - Quintet; Part(s); Score. E...(+)
By David Marlatt. For
Brass Quintet. Brass
Ensemble - Quintet;
Part(s); Score. Eighth
Note Publications. 20
pages. Published by
Eighth Note Publications
Composed
by Georg Philipp
Telemann. Edited by Silja
Reidemeister. Arranged by
Sven Hiemke. Stuttgart
Urtext Edition:
Telemann-Archiv. Bassoon.
Sacred vocal music.
Single Part, Bassoon.
Composed 1756/1760. TVWV
6:3. 16 pages. Duration
40 minutes. Carus Verlag
#CV 39.142/25. Published
by Carus Verlag
(CA.3914225).
Text
language:
German.
The
ambitious late work of
Georg Philipp Telemann,
consciously dedicated to
vocal composition, begins
with the Donner-Ode
(1756/1760). As a symbol
thunder represents the
forces of nature, here in
close connection to the
traumatic earthquake of
Lisbon in 1755. The
characteristic
arrangement of the vocal
parts and the scoring
with three trumpets, the
soloistic use of the
timpani and instrumental
ensemble made this
avant-garde work popular
and well known already
during the composer's
lifetime. The new edition
presented here takes into
consideration important,
newly discovered sources
such as the autograph of
the first part. Score and
part available separately
- see item
CA.3914200.
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).
Orchestra 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa ad lib., 2 Vl, Va, V...(+)
Orchestra 2 Fl, 2 Ob, 2
Clt, 2 Fg, 2 Cor, 3 Trb,
Timp, Arpa ad lib., 2 Vl,
Va, Vc, Cb - Level 4
SKU: CA.1039819
Composed by Johannes
Brahms. Edited by Rainer
Boss. Complete set of
orchestra parts (strings
9-8-7-6-5). Set of
Orchestra Parts
(complete). Composed
1880/81. Op. 82. Duration
14 minutes. Carus Verlag
#1039800. Published by
Carus Verlag
(CA.1039819).
ISBN
9790007293000. Key: D
major. German/English.
Text: J.P. Morgan;
Friedrich
Schiller.
Brahms'
elegy Nanie op. 82, based
on the poem by Friedrich
von Schiller, was
composed in 1880/81
following the death of
the painter Anselm
Feuerbach, whom Brahms
greatly admired. In
contrast with the poem,
Brahms' Nanie ends full
of hope: after earthly
decline, beauty can live
on in art. As in his
Deutsches Requiem op. 45,
in Nanie Brahms creates a
musical connection
between mourning and
consolation in an
incomparable way.
Inspired by the model of
classical Roman-Greek
laments, the work adopts
the classical verse form
chosen by Schiller -
surely alluding to
Feuerbach's
classically-inspired
art. Scored for mixed
chorus and orchestra, we
are publishing the work
in a modern Urtext
edition. One or more
harps can be used ad lib.
The primary source is the
first printed edition of
1881. The latest
scholarly discoveries as
well as practical
requirements have been
taken into consideration.
Performance material is
available on sale as well
as a vocal score, based
on Brahms's original
vocal score, but in a
revised performing
version.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .
Composed
by Georg Philipp
Telemann. Edited by Silja
Reidemeister. Arranged by
Sven Hiemke. Stuttgart
Urtext Edition:
Telemann-Archiv. Sacred
vocal music. Choral
Score. Composed
1756/1760. TVWV 6:3. 8
pages. Duration 40
minutes. Carus Verlag #CV
39.142/05. Published by
Carus Verlag
(CA.3914205).
ISBN
9790007166687. Text
language:
German.
The
ambitious late work of
Georg Philipp Telemann,
consciously dedicated to
vocal composition, begins
with the Donner-Ode
(1756/1760). As a symbol
thunder represents the
forces of nature, here in
close connection to the
traumatic earthquake of
Lisbon in 1755. The
characteristic
arrangement of the vocal
parts and the scoring
with three trumpets, the
soloistic use of the
timpani and instrumental
ensemble made this
avant-garde work popular
and well known already
during the composer's
lifetime. The new edition
presented here takes into
consideration important,
newly discovered sources
such as the autograph of
the first part. Score
available separately -
see item CA.3914200.
Choral, cantatas.
Eastertide, Lent. Bulk
performance CDs. Lorenz
Publishing Company
#99/3666L. Published by
Lorenz Publishing Company
(LO.99-3666L).
UPC:
000308145793.
10
pack of performance CDs
for What Love Is This?
(55/1185L) The Passion
story vividly expresses
God's endless love for
the world as Jesus
willingly lays down His
life so that all might
experience eternal life.
What Love Is This? is a
moving musical and
worship experience for
choir and congregation
alike as it walks through
the last days of Christ's
earthly life, from the
jubilant entrance into
Jerusalem on Palm Sunday
and the difficult days of
rejection and crucifixion
to the triumphant
resurrection of Easter
Sunday. The fullest
spectrum of music is
represented in this
dramatic
thirty-five-minute work
from composers Lloyd
Larson, Mary McDonald,
Brad Nix, Marty Parks,
and Larry Shackley. A
single speaker weaves the
narrative between anthems
ranging from celebratory
to contemplative. The
musical options with both
SATB and SAB versions
available ensure that
this can be done by
choirs large or small.
The accompaniment options
from piano to orchestra
or accompaniment track
provide maximum
flexibility for virtually
any worship setting.
String quartet SKU: LO.30-3718L Composed by Marty Parks. Choral. Sacred A...(+)
String quartet
SKU:
LO.30-3718L
Composed
by Marty Parks. Choral.
Sacred Anthem, Advent,
Christmas. Score and
parts. Lorenz Publishing
Company #30/3718L.
Published by Lorenz
Publishing Company
(LO.30-3718L).
UPC:
000308154894.
Strin
g Quartet Score and Parts
for 10/5333L Marty Parks
uses the beloved COVENTRY
CAROL as the basis for
his original lyric: Your
humble birth, Your
matchless worth; Jesus,
God with us. No earthly
crown, no great renown;
Jesus, God with us.
Redeemer King, of whom
angels sing; Jesus, God
with us. Equally
inspiring with piano
accompaniment or the
optional string quartet,
this is a stunning
addition to Christmas
worship or concert
repertoire.
Composed by Joe Hisaishi. Studio Ghibli Duo Seleciton. Studio Ghibli, Japanese...(+)
Composed by Joe Hisaishi.
Studio Ghibli Duo
Seleciton.
Studio Ghibli, Japanese
Animation. Book CD.
Yamaha
Music Media #GTW01100208.
Published by Yamaha Music
Media
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
Music of Life Chorale SATB SATB, Piano Oxford University Press
SATB choir and piano SKU: OU.9780193574717 Composed by B. E. Boykin. Voca...(+)
SATB choir and piano
SKU:
OU.9780193574717
Composed by B. E. Boykin.
Vocal score. 8 pages.
Duration 2.5'. Oxford
University Press
#9780193574717. Published
by Oxford University
Press (OU.9780193574717).
ISBN 9780193574717. 10
x 7 inches.
For
SATB and piano Music of
Life is a vibrant setting
of a poem by George
Parsons Lathrop that
describes how music
underpins all earthly
life. An active piano
part provides an
energetic undercurrent to
compelling vocal lines,
with the voices beginning
in unison before opening
out into two and then
three parts.
Orchestra SKU: HL.50602337 Full Score Based on the Critical Edition(+)
Orchestra
SKU:
HL.50602337
Full
Score Based on the
Critical Edition.
Composed by Charles Ives.
Edited by Thomas M.
Brodhead. Full Score.
Classical. Softcover. 232
pages. Associated Music
Publishers, Inc
#ED8261-P. Published by
Associated Music
Publishers, Inc
(HL.50602337).
ISBN
9781540085054. UPC:
840126908947. 12x16
inches.
This new
performance score seeks
to address every
quantifiable performance
problem confronting
conductors and performs
of the Ives Fourth
Symphony. Here, for the
first time, difficulties
that have bedeviled
interpreters of the score
in the past are
addressed, and the new
issues unearthed in the
recently published
Critical Edition score
are harnessed and
accounted for.
Composed by Peter Ilyich Tchaikovsky, edited by Louis Oesterle. For piano. Forma...(+)
Composed by Peter Ilyich
Tchaikovsky, edited by
Louis Oesterle. For
piano. Format: piano solo
book. With fingerings.
Romantic period. 57
pages. 9x12 inches.
Published by Schirmer.
Pater noster Chorale TTBB [Conducteur] Carus Verlag
SSAATTBB Choir SKU: CA.967400 Composed by Jacek Sykulski. Edited by Stefa...(+)
SSAATTBB Choir
SKU:
CA.967400
Composed by
Jacek Sykulski. Edited by
Stefan Schuck. CARUS
CONTEMPORARY. Sacred
vocal music. Full score.
16 pages. Duration 8
minutes. Carus Verlag #CV
09.674/00. Published by
Carus Verlag (CA.967400).
ISBN 9790007187484.
Language:
Latin.
With the
publication of his
hypnotic Pater noster,
Carus proudly presents
Jacek Sykulski as a new
composer in the Carus
Contemporary series.
Whilst Sykulski has
achieved worldwide
success as Director of
the Academic Choir at the
University of Poznan and
the Poznan Boys' Choir,
as a composer he has
remained a well-guarded
secret until now. In his
sacred compositions he
combines in music the
deeply Catholic-imbued
tradition of his country
with his own
compositional technique,
characterized by a
tremendous vocal
sensuousness of sound and
a conscious use of
tonality enriched by
dissonance. His Pater
noster was composed in
2009 and revised in 2015
for a performance by the
RIAS Kammerchor in
Berlin. The first section
of this three-part work
for eight-part choir
(tenors and sopranos also
split into three) begins
with the invocation Pater
noster homophonically in
A minor. This then
introduces the Gregorian
liturgical melody of the
Our Father canonically
and aleatorically, like a
contemplative
congregational hymn. The
middle section calls out
Dein Reich komme in
increasingly insistent
rhythmic declamation,
more demanding, with
hypnotic repetitions and
intensifications. In the
last section, Sykulski
returns to the opening
harmonies, but now a
semitone lower on A flat,
followed by an
intensification at the
words sed libera nos a
malo - and delivery us
from evil once more; this
ends unresolved in a
diatonic cluster on A
flat as the paradigm of
our imperfect earthly
existence. The
eight-minute
unaccompanied composition
is extremely singable,
impressive, and not
difficult to master. The
piece is suitable for use
in the liturgy, as well
as in concerts and
competitions.
Composed
by Georg Philipp
Telemann. Edited by Silja
Reidemeister. Arranged by
Sven Hiemke. Stuttgart
Urtext Edition:
Telemann-Archiv. Organ.
Sacred vocal music.
Single Part, Organ.
Composed 1756/1760. TVWV
6:3. 24 pages. Duration
40 minutes. Carus Verlag
#CV 39.142/49. Published
by Carus Verlag
(CA.3914249).
ISBN
9790007216313. Language:
German.
The
ambitious late work of
Georg Philipp Telemann,
consciously dedicated to
vocal composition, begins
with the Donner-Ode
(1756/1760). As a symbol
thunder represents the
forces of nature, here in
close connection to the
traumatic earthquake of
Lisbon in 1755. The
characteristic
arrangement of the vocal
parts and the scoring
with three trumpets, the
soloistic use of the
timpani and instrumental
ensemble made this
avant-garde work popular
and well known already
during the composer's
lifetime. The new edition
presented here takes into
consideration important,
newly discovered sources
such as the autograph of
the first part. Score and
part available separately
- see item
CA.3914200.
Paradise Cave Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1206276-120 Symphonic Poem. Com...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1206276-120
Symphonic Poem.
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2021. 42 pages. De Haske
Publications #DHP
1206276-120. Published by
De Haske Publications
(BT.DHP-1206276-120).
English-German-French-
Dutch.
The 31
kilometer (19 miles) long
beautiful Thien Duong
Cave or Paradise Cave
lies in one of
Vietnam’s national
parks and was not
discovered until 2005.
Composer Jan de Haan
visited this unearthly
looking place. The
grandnessand astounding
splendour of this natural
wonder made such an
impression that it
inspired him to write
this composition. He
experienced Paradise Cave
as art, albeit formed by
nature across millions of
years. Back home, he
renderedthe imposing
experience in music. This
resulted in a colourful
and spectacular concert
work for fanfare band.
Paradise Cave is
dedicated to the World
Music Contest
(WMC).
De 31
kilometer lange,
prachtige Thien
Duong-grot (oftewel
Paradise Cave) , gelegen
in een van de nationale
parken van Vietnam, werd
pas in 2005 ontdekt. Toen
componist Jan de Haan
deze buitenaards
aandoende plek bezocht,
maaktende grootsheid en
adembenemende pracht van
dit natuurwonder zo veel
indruk op hem dat hij
zich ge nspireerd voelde
om dit werk te schrijven.
Hij beleefde Paradise
Cave als kunst, maar dan
in miljoenen jaren
gecreëerd door
denatuur. Thuis zette hij
zijn indrukwekkende
ervaring om in muziek,
wat resulteerde in een
kleurrijk en spectaculair
concertwerk voor
fanfareorkest.
Paradise Cave is
opgedragen aan het Wereld
Muziek Concours
(WMC).
Die 31
Kilometer lange
wunderschöne
Thien-Duong-Höhle oder
Paradies-Höhle liegt
in einem der
Nationalparks Vietnams
und wurde erst 2005
entdeckt. Der Komponist
Jan de Haan besuchte
diesen fast
überirdischen Ort.
DieGroßartigkeit und
außerordentliche
Pracht dieses
Naturwunders
beeindruckten ihn derart,
dass ihn dies zu dieser
Komposition inspirierte.
Er erlebte die
Paradies-Höhle als ein
Kunstwerk, obwohl sie im
Laufe von Millionen von
Jahrenvon der Natur
geformt wurde. Als er
wieder zu Hause war,
setzte er dieses
beeindruckende Erlebnis
in Musik um. Das Ergebnis
ist ein lebendiges und
atemberaubendes Werk
für Fanfare-Orchester.
Paradise Cave ist
dem WorldMusic Contest
(WMC)
gewidmet.
Book with Online Audio (stream or download). Composed by Various. Rubank ...(+)
Book with Online Audio
(stream or download).
Composed by Various.
Rubank Book/Audio
Products. Softcover Media
Online. 16 pages.
Published by Rubank
Publications (HL.160729).
Choral (SSAA) SKU: HL.319752 Composed by Nick Strimple. Pavane Choral. Ch...(+)
Choral (SSAA)
SKU:
HL.319752
Composed by
Nick Strimple. Pavane
Choral. Christmas Sacred,
Christmas/Advent Sacred,
General Worship, Poetry,
Sacred. Octavo. Hal
Leonard #NS0020.
Published by Hal Leonard
(HL.319752).
UPC:
888680972561.
6.75x10.5x0.029 inches.
William Butler Yeats/Nick
Strimple.
What
would it feel like to be
told you will be the
mother of God? That is
the essence of this
Yeats' poem, and his
depiction, like most of
his work, is complex and
earthy. Strimple's music
adds to the poetry with
dynamic fervor, enhancing
the emotions with
unapologetic flare. This
is the piece to include
in the Christmas program
that will awaken an
audience. For advanced
high school and college
ensembles.
Amid the Great Displace Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-3617-01 Composed by C. McBride. Concert Band. Spotlig...(+)
Grade 4
SKU:
CL.012-3617-01
Composed by C. McBride.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR349). Extra
full score. Composed
2007. Duration 5 minutes,
22 seconds. Opus III Wind
Orchestra Publications
#012-3617-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3617-01).
Commemorating a
landmark event in
history, Cory McBride
sets out to replicate the
awe of the New Madrid
Earthquake of February
12, 1812, which affected
over 1 million square
miles and was powerful
enough to change the
route of the Mississippi
River. Featuring an
insistent motive that is
supported by intertwined
counterpoints, the
vigilant beginning leads
to a chorale-like middle
section, expressing the
dismay after the quake,
which is soon followed up
by an emotionally ending.
The piece contains
challenges for every
instrument and is
well-suited for more
experienced groups. Amid
the Great Displace is a
fantastic choice for
concert or contest and
will be inspiring
programming for your
students and
audiences.
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Composed
by Franz Joseph Haydn.
Edited by Wolfgang
Hochstein. Choral Score.
Composed 1796. Hob. XX:2.
40 pages. Duration 65
minutes. Carus Verlag
#5199200. Published by
Carus Verlag
(CA.5199205).
ISBN
9790007186654. German.
Text: van Swieten,
Gottfried.
Joseph
Haydn's oratorio Die
sieben letzten Worte
unseres Erlosers am
Kreuze is probably one of
the most frequently
performed settings of
music for Good Friday.
Haydn set these Seven
Words in a dramatic,
extremely gripping
emotional style which is
utterly compelling.
Originally the work was
conceived as a purely
instrumental composition
- as meditative music in
seven slow movements with
an introduction and
concluding movement (Il
Terremoto - the
earthquake) for a
Passiontide church
service. From the outset,
Haydn had composed the
themes of the movements
with a vocal spirit in
mind, so when he heard a
vocal arrangement of his
work in 1794 in Passau
with a German singing
text - an obvious idea -
it inspired him to write
his own vocal version.
The first performance
took place in 1796 in
Vienna. With the
flourishing of choral
societies in the 19th
century, this vocal
version of the Seven
Words became one of the
most frequently-performed
Passion music settings of
all. The critical Urtext
edition of the work now
published offers a
revised musical text
reflecting current
scholarly standards.