Solace, Entertainer and Maple Leaf Rag * 3 in 1 * Original Piano Solo composed b...(+)
Solace, Entertainer and
Maple Leaf Rag * 3 in 1 *
Original Piano Solo
composed by Scott Joplin
(1868-1917). For piano
solo. This edition:
Paperback. Solo. Ragtime.
Sheet Music. Text
Language: English. 12
pages. Published by
Santorella Publications
Percussion (Percussion Parts) SKU: HL.48184867 Composed by Adam Polachows...(+)
Percussion (Percussion
Parts)
SKU:
HL.48184867
Composed
by Adam Polachowski.
Leduc. Classical.
Softcover. 20 pages.
Alphonse Leduc #AL28184.
Published by Alphonse
Leduc (HL.48184867).
UPC: 888680796877.
9x12.25
inches.
“Born
in 1958, polish musician
Adam Polachowski studied
music at the Arts Academy
in Poznan, Poland before
being appointed as
percussionist at the
Poznan Wielki Theatre, as
well as performing
soloistically. As a
prolific percussionist
himself, Polachowski's
Seven Episodes for Snare
Drum and Bass Drum are
very well-informed.
Polachowski's study book
is intended for
percussionists who have
already mastered Bass
Drum pedal technique.
Seven Episodes for Snare
Drum and Bass Drum
addresses varying
rhythmic combinations,
counterpoint, different
timbres, dynamic
variations and changes of
tempo. A helpful glossary
is included and, with
written instruction in
French, English, German,
Spanish and Italian,
Polachowski's study book
is highly accessible. For
all aspiring
percussionists, Seven
Episodes for Snare Drum
and Bass Drum is
essential.&rdquo.
Piano SKU: SP.ME1033 Composed by Scott Joplin. Solo; Ragtime. Score. Sant...(+)
Piano
SKU:
SP.ME1033
Composed by
Scott Joplin. Solo;
Ragtime. Score.
Santorella Publications
#ME1033. Published by
Santorella Publications
(SP.ME1033).
ISBN
9781585607457.
The
Masterpiece Edition
series, published
exclusively by Santorella
Publications, is a
collection of original
piano works, as well as
challenging arrangements
and transcriptions
designed for the
experienced to advanced
pianist. The series is
meticulously engraved and
printed on heavy cover
stock and quality paper
to last for generations.
With original works from
the great masters, Bach,
Beethoven, Mozart, and
alike, as well as
arrangements and
transcriptions from some
of the greatest works of
all time, these
Masterpiece Editions are
sure to be popular
favorites while enhancing
the repertoire of most
any serious pianist. In
this case, we are
extremely proud to
release the original,
unedited, Masterpiece
Edition of Joplin's
Solace, Entertainer and
Maple Leaf Rag as a 3 in
1 sheet in its purest
form. Our ultimate goal
is to emphasize the
necessity of exceptional
quality in printed sheet
music. Time has heard the
strains of a myriad of
musical styles. Some
styles liven with age
while others fade. The
same is true of the
composers themselves;
some are regarded as
brilliant masters from
the beginning of their
lives while others are
praised only
posthumously. Endurance
is the ultimate test.
Scott Joplin endured
great injustices and
criticism, yet he remains
the King of Ragtime. We
remember the genius of
Scott Joplin by
publishing Solace, The
Entertainer, and Maple
Leaf Rag in a remarkable
3 in 1 original edition.
Joplin's most popular
rag, The Entertainer
reached high acclaim in
1973 as a recognizable
theme from the film
classic, The Sting. This
Academy Award-Winning
film was solely
responsible for the
resurgence of ragtime in
general, but more
specifically brought
renewed interest in the
works of Scott Joplin.
Solace was frequently
heard in the background
of many scenes in which
the character was deep in
thought. Subtitled, A
Mexican Serenade, Solace
has a serene Latin feel,
unlike no other samba
written and is the
favorite of many Joplin
enthusiasts. While the
Maple Leaf Rag, actually
became quite popular
during Joplin's lifetime,
so much so that it was
the first printed sheet
of music to sell over one
million copies. We are
pleased to combine these
three original rags in
one sheet as a special
part of our Masterpiece
Ragtime Selections. These
newly engraved editions
are clean, sharp,
distinct, and accurate.
An absolute pleasure to
read as each crisp note
seems to pop off the
page.
High voice and piano - Late Intermediate SKU: EC.9278 Composed by Joseph ...(+)
High voice and piano -
Late Intermediate
SKU:
EC.9278
Composed by
Joseph Stillwell. E.C.
Schirmer Publishing
#9278. Published by E.C.
Schirmer Publishing
(EC.9278).
UPC:
600313311185.
English.
Songs of
Love and Solace traces a
young man's journey of
love and heartbreak. The
cycle of four texts by
Irish poet William Butler
Yeats begins with Brown
Penny. This short poem
depicts a young man
infatuated with the idea
of falling in love, and
then becoming awestruck
as he contemplates the
depths of love’s power.
In the second poem, He
Wishes for the Cloths of
Heaven, the poet,
speaking to his beloved,
realizes he has nothing
of value to offer but his
dreams. Tread softly, he
implores, because you
tread on my dreams.” In
When You Are Old, we find
our poet heartbroken. In
his grief he peers into
the future and foresees
his beloved, in old age,
remembering the depth and
purity of their forsaken
love: “But one man love
the pilgrim soul in you,
And loved the sorrows of
your changing face.” In
the final song, The Lake
Isle of Innisfree,” the
poet, saddened but wiser,
wistfully resolves to
escape the struggles and
heartbreaks of his modern
existence, and seek
solace in the beauty and
calm of nature. Songs may
be performed separately.
Bassoon; Orchestra SKU: UT.HS-329R Composed by Simplicio Gualco. Edited b...(+)
Bassoon; Orchestra
SKU: UT.HS-329R
Composed by Simplicio
Gualco. Edited by Italo
Vescovo. Classical. Piano
Reduction. Ut Orpheus #HS
329R. Published by Ut
Orpheus (UT.HS-329R).
ISBN 9790215327962. 9
x 12 inches.
P
erformance Material on
Hire
[S
olo: Bs - Picc.2.2.2.2 -
2.2.2.0 - Str]
In
the second half of the
19th century, in Italy,
melodrama was still the
most practised musical
genre, but space for
instrumental production
began to grow, especially
thanks to the Quartet
societies which tried to
reduce the gap remaining
compared to other
European countries,
offering it to the public
with an energy which was
certainly praiseworthy.
However, they were not
the only institutions
where instrumental music
was cultivated. In this
context it must be
remembered that music
conservatories also
played an important role,
especially through the
music recitals given by
the best students. In one
of these, which was held
at the Milan Conservatory
on 9 July 1884, the
concert piece Andante
e Polacca for bassoon
and orchestra by
Simplicio Gualco
(1861-1942) was
performed, a piece which
aroused a great deal of
interest as stated in the
‘Gazzetta Musicale
di Milano’ of 20
July of that year. After
the recital, the piece
ended up in the
Conservatory archives and
was never played again.
It was rediscovered
recently, thanks to the
research work on the
composer by the
musicologists Italo
Vescovo and Flavio
Menardi Noguera, both
connected to the
composer’s
hometown.
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
By Scott Joplin (1868-1917). Edited by Maurice Hinson. For Piano. Masterworks; P...(+)
By Scott Joplin
(1868-1917). Edited by
Maurice Hinson. For
Piano. Masterworks; Piano
- Personality Book. At
the Piano. Late
Intermediate/Early
Advanced level piece for
the Piano Solo event with
the National Federation
of Music Clubs (NFMC)
Festivals Bulletin
2008-2009-2010.
Masterwork; Romantic. SMP
Level 8 (Early Advanced);
NFMC Level: Difficult
Class 1. Book. 64 pages.
Published by Alfred Music
Publishing
Three Piano Rags Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
Composed by Scott Joplin (1868-1917). Edited by Maurice Hinson. Masterworks; Pia...(+)
Composed by Scott Joplin
(1868-1917). Edited by
Maurice Hinson.
Masterworks; Piano
Collection. Alfred
Masterwork Edition. Late
Intermediate level piece
for the Piano Solo event
with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010.
Masterwork; Romantic.
Book. 16 pages. Alfred
Music #00-3580. Published
by Alfred Music
SATB choir, assembly, keyboard accompaniment, C instrument, guitar - Early inter...(+)
SATB choir, assembly,
keyboard accompaniment, C
instrument, guitar -
Early intermediate
SKU: GI.G-9873
Composed by Bex Gaunt.
All Saints, All Souls.
Celebration Series.
Sacred. Octavo. With
guitar chord names. 12
pages. GIA Publications
#9873. Published by GIA
Publications (GI.G-9873).
UPC: 785147987307.
English. Text by Adam M.
L. Tice.
Set to a
rich and comforting text
by Adam Tice, this gentle
lullaby reminds us that
anywhere we go, God goes
with us, and we are
God’s beloved
child. Flexible enough to
work as a solo, a choral
anthem, or an assembly
song, this is a lovely
piece to bring solace in
difficult times.
Piano - Grade 6 SKU: BT.LL257 Exam Material. Book Only. 56 pages. London ...(+)
Piano - Grade 6
SKU:
BT.LL257
Exam
Material. Book Only. 56
pages. London College
Music #LL257. Published
by London College Music
(BT.LL257).
English.
This
publication is part of a
progressive series of
handbooks, primarily
intended for candidates
considering taking LCM
examinations in Piano.
However, given each
handbook's wide content
of musical repertoire
andassociatededucational
material, the series
provides a solid
foundation of musical
education for any Piano
student, of any age,
whether they are
intending to take an exam
or not.
Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Lent, T...(+)
Composed by Howard
Goodall
(1958-).
Multi-Movement/Large
Choral Work. Lent,
Triduum/Three Days,
Tenebrae,
21st Century, Heaven,
Lament/Grief/Sorrow.
Vocal/choral score.
MorningStar Music
Publishers
#56-0002. Published by
MorningStar Music
Publishers
Guitar SKU: HL.49032281 20 light Pieces for Guitar. Composed by Va...(+)
Guitar
SKU:
HL.49032281
20
light Pieces for
Guitar. Composed by
Various. Edited by Dieter
Kreidler. Sheet music
with CD. Edition Schott.
Classical. Edition with
CD. 32 pages. Schott
Music #ED7123. Published
by Schott Music
(HL.49032281).
ISBN
9790001127219. UPC:
884088407513.
9.0x12.0x0.15
inches.
The present
edition provides various
options for teaching and
practice. The player can
choose between solo part
or accompaniment. The CD
provides samples of good
interpretation while
taking into account the
limited technical
abilities of learners.
Even the beginner
acquires an informed
overview of guitar styles
and repertoire from the
Renaissance to
contemporary playing
techniques.
Guitar SKU: BT.PB1200 Classical. Book with CD. 106 pages. Paul Beuscher #...(+)
Guitar
SKU:
BT.PB1200
Classical.
Book with CD. 106 pages.
Paul Beuscher #PB1200.
Published by Paul
Beuscher (BT.PB1200).
French.
From the
pantheon of great
pianists comes
Volume 1B
of Les
Classiques Favoris Du
Piano, a
collection of even more
fantastic pieces by some
of the greatest composers
ever, arranged for solo
Piano.
Composed by Robert Ward. Full Length Opera. 20th Century. Libretto. Galaxy Music...(+)
Composed by Robert Ward.
Full Length Opera. 20th
Century. Libretto. Galaxy
Music Corporation
#7.0277. Published by
Galaxy Music Corporation
(EC.7.0277).
0.48
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Hope and Quietly Wait Chorale SATB [Octavo] - Intermédiaire MorningStar Music Publishers
Composed by Thad Fiscella, Paul John Rudoi. National Lutheran Choir Series. Cath...(+)
Composed by Thad
Fiscella, Paul John
Rudoi. National Lutheran
Choir Series. Catholic
Year A Ordinary18.
Healing, Hope/Assurance.
Octavo. Published by
MorningStar Music
Publishers (MN.50-9930).
Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano....(+)
Schirmer's Library of
Musical
Classics, Vol. 2139.
Composed
by Various. Piano.
Classical.
Softcover. 386 pages. G.
Schirmer #LIB 2139.
Published
by G. Schirmer
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For piano. Alfre...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer. For
piano. Alfred's Basic
Adult Piano Course.
Format: instructional
book. With introductory
text, instructional text,
illustrations and
performance notes.
Instructional. 9x12
inches. Published by
Alfred Publishing.
Piano seul [Livre + CD] - Facile Alfred Publishing
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional b...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer.
Instructional book
(spiral bound) and
accompaniment CD for
piano. With introductory
text, instructional text,
standard notation and
fingerings. Series:
Alfred's Basic Adult
Piano Course. 144 pages.
Published by Alfred
Publishing.
Tangos Piano seul [Partition] - Intermédiaire Alfred Publishing
Selected Works for the Piano. Edited by Maurice Hinson. For Piano. Piano Collect...(+)
Selected Works for the
Piano. Edited by Maurice
Hinson. For Piano. Piano
Collection. Alfred
Masterwork Edition.
Latin; Masterwork. Level:
Intermediate / Early
Advanced. Book. 80 pages.
Published by Alfred
Publishing.
Choir and Chamber Orchestra SKU: BT.PMC3599 Composed by Morten Lauridsen....(+)
Choir and Chamber
Orchestra
SKU:
BT.PMC3599
Composed
by Morten Lauridsen.
Score Only. 60 pages.
Peermusic Classical
#PMC3599. Published by
Peermusic Classical
(BT.PMC3599).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen.
Mixed Choir [SATB], Chamber Orchestra or Organ SKU: BT.PMC3367 For Cho...(+)
Mixed Choir [SATB],
Chamber Orchestra or
Organ
SKU:
BT.PMC3367
For
Chorus and Chamber
Orchestra or Organ- Organ
Score. Composed by
Morten Lauridsen. Vocal
Score. Composed 1997. 56
pages. Peermusic
Classical #PMC3367.
Published by Peermusic
Classical (BT.PMC3367).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen.