| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peanuts Gallery Piano et Orchestre [Reduction] Theodore Presser Co.
For Piano and Orchestra (Solo Piano and Piano Reduction). By Ellen Taaffe Zwilic...(+)
For Piano and Orchestra
(Solo Piano and Piano
Reduction). By Ellen
Taaffe Zwilich. For Piano
Solo, Piano Reduction.
Junior Class I-B piece
for the One Hand Piano
Music for the Concerto
Event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Solo part
with piano reduction.
Composed 1996. 31 pages.
Duration 13:00. Published
by Theodore Presser
Company
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Gallery Chorale SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.50128 Composed by Christopher Fox. Per...(+)
Choir Secular (SATB
choir) SKU:
AP.50128 Composed by
Christopher Fox.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Secular. Choral Octavo.
16 pages. Alfred Music
#00-50128. Published by
Alfred Music (AP.50128).
UPC: 038081572987.
English. Words by Vincent
van Gogh; Edgar Degas;
Leonardo da Vinci; Pablo
Picasso;
Michelangelo. Trans
form your choral stage
into a canvas for
imagination with this
innovative piece for
concert or festival. The
words of Vincent van
Gogh, Edgar Degas,
Leonardo da Vinci, Pablo
Picasso, and Michelangelo
come together to form an
inspiring collective
work. The ever-changing
palette of musical colors
reflects the time periods
in which each of these
artists lived. Discover
more at
alfred.com/thegallery. About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Voices of Christmas Orchestre [Conducteur et Parties séparées] Shawnee Press
| | |
| The Voices of Christmas Chorale [Partition + CD] Harold Flammer Music
By Joseph M. Martin. Christmas; Choral. Book and CD Combo Pak. Published by Haro...(+)
By Joseph M. Martin.
Christmas; Choral. Book
and CD Combo Pak.
Published by Harold
Flammer Music.
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Voices of Christmas CD Chorale Shawnee Press
Choral (Cd 10-Pak) SKU: HL.35024831 Shawnee Sacred. Cantata, Christmas, C...(+)
Choral (Cd 10-Pak)
SKU: HL.35024831
Shawnee Sacred. Cantata,
Christmas, Christmas
Sacred, Christmas/Advent
Sacred. CD. Shawnee Press
#MA5024. Published by
Shawnee Press
(HL.35024831). UPC:
747510180906.
5.0x5.5x3.978
inches. Joseph
Martin and the creative
team that brought you The
Winter Rose and Journey
of Promises now present
their latest major work
The Voices of Christmas.
Using beloved carols and
new anthems especially
composed for the cantata,
the story of Christmas
unfolds through the
“voices†of
witnesses (narration) and
is echoed in the voices
of the choir as they sing
the good news of the
Savior's birth. Beautiful
orchestrations by Brant
Adams are available, as
well as a full menu of
companion products and
support material.
Familiar carol melodies
abound: The First Noel
• The Gallery Carol
• St. Denio •
O Come, O Come, Emmanuel
• God Rest Ye Merry
Gentleman • Masters
in this Hall •
Adeste Fideles •
Still, Still, Still
• In Dulci Jubilo
– making this
joyful cantata a splendid
choice for your holiday
programming. $69.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Gibson 335 Guitar Book Livre - Pas de partitions [Partition] Backbeat Books
Electric Semi-Solid Thinlines and the Players Who Made Them Famous. Book....(+)
Electric Semi-Solid
Thinlines and the Players
Who Made Them Famous.
Book. Softcover. 160
pages. Published by
Backbeat Books
(HL.137904).
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Long Gallery [Conducteur] University Of York Music Press
Harpsichord, Violin, Voice, Tenor Recorder, Alto Treble Recorder SKU: BT.MUSM...(+)
Harpsichord, Violin,
Voice, Tenor Recorder,
Alto Treble Recorder
SKU:
BT.MUSM570209293 A
Cabinet & 7 Drawers.
Composed by Sadie
Harrison. Score Only. 2
pages. University of York
Music Press
#MUSM570209293. Published
by University of York
Music Press
(BT.MUSM570209293).
English. A
Cabinet & Seven
Drawers for Voice,
Violin, Harpsichord and
Descant, Treble and Tenor
Recorders. Published
2006. Commissioned by the
Vigani Project 2007.
First performance:
Lesley-Jane Rogers,
Farran Scott and members
of the Cambridge Music
Faculty, The Long Gallery
of Queen's College,
Cambridge in March
2007. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bent Sorensen: The Lady Of Shalott (String Quartet) Score Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
String Quartet SKU: HL.14030964 Composed by Bent Sorensen. Music Sales Am...(+)
String Quartet SKU:
HL.14030964 Composed
by Bent Sorensen. Music
Sales America. Classical.
Score. 10 pages. Music
Sales #KP00510. Published
by Music Sales
(HL.14030964). ISBN
9788759861455.
English. The
Composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo Viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's painting:
The Lady Of Shalott. The
picture of a mad-like,
pale, and perhaps singing
woman alone in a boat
without sculls, which
calmly slips out from the
rush growth of the river
is an illustration for
the ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources.' As
suggested above the piece
was originally written
for Viola solo. This
version for String
Quartet is from 1993. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Harmonic Gallery Carl Fischer
Chamber Music Double Bass, Vibraphone, Viola, Violin, Violoncello SKU: CF.MXE...(+)
Chamber Music Double
Bass, Vibraphone, Viola,
Violin, Violoncello
SKU: CF.MXE55
Composed by Paul Lansky.
Set of Score and Parts.
8+8+8+8+8+32 pages.
Duration 17:55. Carl
Fischer Music #MXE55.
Published by Carl Fischer
Music (CF.MXE55). ISBN
9781491153864. UPC:
680160911363. Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four frames
comment on the harmonies
of the movements that
they surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 187273;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. Paul Lansky
Frame 1
100 Minuetto
(Post-Classical, c. 1810)
352 Frame
2 125 Angst
(Post-Romantic, c. 1910)
353 Frame
3 122 Dance
(Post-Modern, c. 2010)
535 Frame
4 050 Total Duration
1755 . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
aframes.a aMinuettoa is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. aAngsta
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
aDancea is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
aframesaa comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872a73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. aPaul Lansky
Frame 1
1a00a Minuetto
(Post-Classical, c. 1810)
3a52a Frame 2
1a25a Angst
(Post-Romantic, c. 1910)
3a53a Frame 3
1a22a Dance
(Post-Modern, c. 2010)
5a35a Frame 4
0a50a Total Duration
17a55a . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
aframes.a aMinuettoa is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. aAngsta
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
aDancea is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
aframesaa comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872a73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. aPaul Lansky
Frame 1
1a00a Minuetto
(Post-Classical, c. 1810)
3a52a Frame 2
1a25a Angst
(Post-Romantic, c. 1910)
3a53a Frame 3
1a22a Dance
(Post-Modern, c. 2010)
5a35a Frame 4
0a50a Total Duration
17a55a . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames' comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872-73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. --Paul
Lansky Frame 1 1'00
Minuetto
(Post-Classical, c. 1810)
3'52 Frame 2 1'25
Angst
(Post-Romantic, c. 1910)
3'53 Frame 3 1'22
Dance
(Post-Modern, c. 2010)
5'35 Frame 4
0'50' Total Duration
17'55 . Harmonic
Gallery, commissioned by
Network for New Music for
premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames' comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon Fort
Fisher, North Carolina,
by Xanthus Smith, ca.
1872-73; Three Wise Men
Greeting Entry into
Lagos, by Kehinda Wiley,
2008. --Paul Lansky Frame
1 1'00 Minuetto
(Post-Classical, c. 1810)
3'52 Frame 2 1'25 Angst
(Post-Romantic, c. 1910)
3'53 Frame 3 1'22 Dance
(Post-Modern, c. 2010)
5'35 Frame 4 0'50' Total
Duration
17'55. Harmonic
Gallery, commissioned by
Network for New Music for
premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames’ comment on
the harmonies of the
movements that they
surround.The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon Fort
Fisher, North Carolina,
by Xanthus Smith, ca.
1872–73; Three
Wise Men Greeting Entry
into Lagos, by Kehinda
Wiley, 2008.—Paul
LanskyFrame 1
1’00Minuetto
(Post-Classical, c. 1810)
3’52Frame 2
1’25Angst
(Post-Romantic, c. 1910)
3’53Frame 3
1’22Dance
(Post-Modern, c. 2010)
5’35Frame 4
0’50’Total
Duration
17’55. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Harmonic Gallery [Conducteur] Carl Fischer
Chamber Music Double Bass, Vibraphone, Viola, Violin, Violoncello SKU: CF.MXE...(+)
Chamber Music Double
Bass, Vibraphone, Viola,
Violin, Violoncello
SKU: CF.MXE55F
Composed by Paul Lansky.
Full score. 32 pages.
Duration 17:55. Carl
Fischer Music #MXE55F.
Published by Carl Fischer
Music (CF.MXE55F).
ISBN 9781491153895.
UPC:
680160911394. Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four frames
comment on the harmonies
of the movements that
they surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 187273;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. Paul Lansky
Frame 1
100 Minuetto
(Post-Classical, c. 1810)
352 Frame
2 125 Angst
(Post-Romantic, c. 1910)
353 Frame
3 122 Dance
(Post-Modern, c. 2010)
535 Frame
4 050 Total Duration
1755 . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
aframes.a aMinuettoa is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. aAngsta
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
aDancea is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
aframesaa comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872a73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. aPaul Lansky
Frame 1
1a00a Minuetto
(Post-Classical, c. 1810)
3a52a Frame 2
1a25a Angst
(Post-Romantic, c. 1910)
3a53a Frame 3
1a22a Dance
(Post-Modern, c. 2010)
5a35a Frame 4
0a50a Total Duration
17a55a . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
aframes.a aMinuettoa is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. aAngsta
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
aDancea is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
aframesaa comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872a73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. aPaul Lansky
Frame 1
1a00a Minuetto
(Post-Classical, c. 1810)
3a52a Frame 2
1a25a Angst
(Post-Romantic, c. 1910)
3a53a Frame 3
1a22a Dance
(Post-Modern, c. 2010)
5a35a Frame 4
0a50a Total Duration
17a55a . Harmonic
Gallery, commissioned
by Network for New Music
for premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames' comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon
Fort Fisher, North
Carolina, by Xanthus
Smith, ca. 1872-73;
Three Wise Men
Greeting Entry into
Lagos, by Kehinda
Wiley, 2008. --Paul
Lansky Frame 1 1'00
Minuetto
(Post-Classical, c. 1810)
3'52 Frame 2 1'25
Angst
(Post-Romantic, c. 1910)
3'53 Frame 3 1'22
Dance
(Post-Modern, c. 2010)
5'35 Frame 4
0'50' Total Duration
17'55 . Harmonic
Gallery, commissioned by
Network for New Music for
premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames' comment on the
harmonies of the
movements that they
surround. The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon Fort
Fisher, North Carolina,
by Xanthus Smith, ca.
1872-73; Three Wise Men
Greeting Entry into
Lagos, by Kehinda Wiley,
2008. --Paul Lansky Frame
1 1'00 Minuetto
(Post-Classical, c. 1810)
3'52 Frame 2 1'25 Angst
(Post-Romantic, c. 1910)
3'53 Frame 3 1'22 Dance
(Post-Modern, c. 2010)
5'35 Frame 4 0'50' Total
Duration
17'55. Harmonic
Gallery, commissioned by
Network for New Music for
premiere at the
Pennsylvania Academy of
Fine Arts, is a musical
analog of a museum
exhibition in which
paintings, sometimes
created hundreds of years
apart, are shown in close
proximity. There are
three movements,
surrounded by musical
frames. Minuetto is
reminiscent of the early
nineteenth century when
the minuet form started
to escape its rigid
formalities. Angst
recalls the early
twentieth century when
tonality supposedly
started to crumble. It is
based on famous harmonies
used by Richard Wagner
and Arnold Schoenberg.
Dance is unashamedly
post-minimal and
post-modern, and
celebrates repetition and
cadences. The four
frames’ comment on
the harmonies of the
movements that they
surround.The three
movements are very
loosely related to three
paintings in the
collection: The Gordon
Family, by Henry
Benbridge, ca. 1762;
Final Assault upon Fort
Fisher, North Carolina,
by Xanthus Smith, ca.
1872–73; Three
Wise Men Greeting Entry
into Lagos, by Kehinda
Wiley, 2008.—Paul
LanskyFrame 1
1’00Minuetto
(Post-Classical, c. 1810)
3’52Frame 2
1’25Angst
(Post-Romantic, c. 1910)
3’53Frame 3
1’22Dance
(Post-Modern, c. 2010)
5’35Frame 4
0’50’Total
Duration
17’55. $22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Vigani's Others [Conducteur] University Of York Music Press
Voice, Percussion, String Ensemble SKU: BT.MUSM570209576 Composed by Sadi...(+)
Voice, Percussion, String
Ensemble SKU:
BT.MUSM570209576
Composed by Sadie
Harrison. Score Only. 87
pages. University of York
Music Press
#MUSM570209576. Published
by University of York
Music Press
(BT.MUSM570209576).
English. For
Voice, Percussion and
Strings. Commissioned by
the Vigani Project 2007
First performance:
Lesley-Jane Rogers,
Farran Scott and members
of the Cambridge Music
Faculty, The Long Gallery
of Queen's College,
Cambridge, 17 March
2007. $13.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cantica de Sancto Benedicto - Intermédiaire De Haske Publications
Concert Band/Harmonie and Opt. Choir - Grade 4 SKU: BT.DHP-1074334-050 (+)
Concert Band/Harmonie and
Opt. Choir - Grade 4
SKU:
BT.DHP-1074334-050
Saint Benedict
Cantata. Composed by
Jacob De Haan. Musica
Sacra. Set of Parts.
Composed 2008. De Haske
Publications #DHP
1074334-050. Published by
De Haske Publications
(BT.DHP-1074334-050).
9x12 inches.
English-German-French-Dut
ch. Cantica de
Sancto Benedicto is a
three-movement work for
mixed choir, soprano
solo, concert band and
organ ad libitum - on
Latin lyrics that relate
to the life of Saint
Benedict. It was
commissioned by the city
of Norcia in Italy, where
Benedict was born. The
holy Benedict (480-547)
is considered the founder
of monastic life within
the Roman Catholic
Church. His enormous
influence is especially
owing to his monastic
rule, the Regula
Benedicti.Jacob de Haan
has named the movements
of Cantica de Sancto
Benedicto after the
Holy Trinity: the Father
(Gloria Patri),
the Son (Gloria
Filio) and the Holy
Spirit (Gloria
Spiritui Sancto). The
lyrics of thehymn
Gemma Caelestis,
(which, like the other
texts, were originally
used in Gregorian chant)
are voiced by the choir.
To this purpose, Jacob de
Haan composed new,
choral-like, homophone
music. The sequence
Laeta Quies is
rendered by the soprano;
the verses (divided over
the three movements) are
alternated with those of
Gemma Caelestis.
The work closes with an
impressive grand finale,
in which texts are used
from the proprium of the
mass in honor of the
saint’s day of the
holy Benedict (11 July).
Notes to the conductor:
For this cantata, there
are various possibilities
for the performance. The
first involves a
performance in which the
choir and soprano parts
are only accompanied by
organ. Such a performance
has several advantages:
since the band never
sounds together with the
choir and the soprano, no
balance problems occur,
and even a performance
with a large concert band
and a small cantata choir
is conceivable. A special
layout is also possible -
with which you can set up
a three-dimensional
performance in a church.
For example, the choir
can sing in the chancel,
accompanied by the choir
organ; the soprano can
stand on the gallery,
accompanied by the main
organ; and the band can
be seated in another part
of the church. The choir
could also sing from a
gallery. With layouts
like this, working with
two conductors is
advisable.
Cantica de
Sancto Benedicto ist
ein dreisätziges Werk
für gemischten Chor,
Sopran-Solist,
sinfonisches
Blasorchester und Orgel
ad lib. - zu lateinischen
Texten über das Leben
des Heiligen Benedikt. Es
entstand im Auftrag der
italienschen Stadt
Nursia, dem Geburtsort
von Benedikt. Jacob de
Haan benannte die
Sätze von Cantica
de Sancto Benedicto
nach der Heiligen
Dreifaltigkeit: der Vater
(Gloria Patri),
der Sohn (Gloria
Filio) und der
Heilige Geist (Gloria
Spiritui Sancto). Der
Text zur Hymne Gemma
Caelestis (der wie
die übrigen Texte
ursprünglich aus dem
Gregorianischen Choral
stammt) wird vom Chor
gesungen. Zu diesem Zweck
komponierteJacob de Haan
neue choralartige,
homophone Musik. Der
Abschnitt Laeta
Quies wird vom Sopran
vorgetragen; die Strophen
(die sich über alle
drei Sätze verteilen)
wechseln sich mit denen
von Gemma
Caelestis ab. Das
Werk endet mit einem
eindrucksvollen
großartigen Finale, in
dem Texte aus dem
Proprium aus der Messe zu
Ehren des Feiertags des
Heiligen Benedikt (11.
Juli) verwendet
werden.Link zur Partitur:
DHP
1074334-140Link zum
Blasorchesterset: DHP
1074334-010
La partie de
Soprano solo peut être
confiée
l’ensemble des
sopranos du Chœur.
Une autre alternative
serait de faire chanter
la partie de Soprano,
partiellement ou
entièrement, par un
Ténor.Pour faciliter
le travail ( domicile)
des choristes, le
compositeur tient leur
disposition des fichiers
audio de chaque partie
vocale. Pour obtenir ces
fichiers, il suffit de
consulter le site
www.jacobdehaan.com.Ca
ntica de Sancto
Benedicto (Cantate
de saint Benoît)
est une œuvre en
trois mouvements pour
Soprano, Chœur
mixte, Orchestre
d’Harmonie et
Orgue (ad lib.). Basée
sur des textes en latin
relatant la vie de saint
Benoît, cette cantate
est uneœuvre de
commande pour la ville de
Nursie en Italie, ville
natale du moine.Benoît
de Nursie ou saint
Benoît (vers 480-547)
est considéré comme
l’initiateur de la
vie monastique dans
l’Église
catholique romaine. Son
immense influence est
essentiellement liée
la rédaction
d’une règle de
vie : la Règle
monastique de saint
Benoît (Regula
Benedicti).Jacob de
Haan a choisi de donner
le nom des trois
personnes de la
Sainte-Trinité aux
trois mouvements de
l’œuvre : le
Père (Gloria Patri/
Gloire au Père),
le Fils (Gloria Filio/
Gloire au Fils) et le
Saint-Esprit (Gloria
Spiritui Sancto/ Gloire
au Saint-Esprit).Le
texte de l’hymne
Gemma Caelestis
(utilisé dans le chant
grégorien
l’instar des
autres textes) est
chanté par le
Chœur sur une
musique de nature
homophonique laquelle le
compositeur a donné un
style choral. La
séquence Laeta
Quies est chantée
par la Soprano. La prose
de la séquence est
répartie sur les trois
mouvements en alternance
avec le texte de
l’hymne latine. Le
finale de
l’œuvre est
impressionnant. Il
développe des textes
du Propre de la Messe en
l’honneur de la
Saint-Benoît,
célébrée le 11
juillet. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| At the Kansas City Chinese New Year Concert Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
(For String Quartet). Composed by Chen Yi (1953-). String quartet. For 2 Violins...(+)
(For String Quartet).
Composed by Chen Yi
(1953-). String quartet.
For 2 Violins, Viola,
Cello. Premiered at the
Corcoran Gallery in
Washington DC.
Contemporary. Score and
part(s). Standard
notation. 31 + pages.
Duration 12 minutes.
Theodore Presser Company
#114-41198. Published by
Theodore Presser Company
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Novello Junior Book Of Carols TeacherAEs Book Part 2 Chorale 2 parties SA Music Sales
SA Choir SKU: HL.14017423 Composed by Llewellyn. Music Sales America. Cla...(+)
SA Choir SKU:
HL.14017423 Composed
by Llewellyn. Music Sales
America. Classical. Part.
96 pages. Music Sales
#NOV050050. Published by
Music Sales
(HL.14017423).
8.5x11.75x0.53
inches. Designed
specially for schools
without an SATB choir,
this collection contains
21 settings for unison
and two-part voices.
These arrangements, all
compatible with The
Novello Book Of Carols,
are scored for tuned and
untuned percussion, two
melody parts, (each in C
and B flat), guitar
chords, bass line and
simplified piano. These
carols provide the ideal
opportunity of junior and
middle school choirs to
join adult choirs in
performance, whilst
fulfilling the need for
ensemble music throughout
the year. Edited by
William Llewellyn. $5.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Novello Junior Book Of Carols Set Of Parts, Part 2 Music Sales
Designed specially for schools without an SATB choir, this collection contains 2...(+)
Designed specially for
schools without an SATB
choir, this collection
contains 21 settings for
unison and two-part
voices. These
arrangements, all
compatible with The
Novello Book Of Carols,
are scored for tuned and
untuned percussion, two
melody parts, (each in C
and B flat), guitar
chords, bass line and
simplified piano. These
carols provide the ideal
opportunity of junior and
middle school choirs to
join adult choirs in
performance, whilst
fulfilling the need for
ensemble music throughout
the year. Edited by
William Llewellyn
$44.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantica de Sancto Benedicto [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Opt. Choir - Grade 4 SKU: BT.DHP-1074334-010 (+)
Concert Band/Harmonie and
Opt. Choir - Grade 4
SKU:
BT.DHP-1074334-010
Saint Benedict
Cantata. Composed by
Jacob De Haan. Musica
Sacra. Concert Piece. Set
(Score & Parts). Composed
2008. De Haske
Publications #DHP
1074334-010. Published by
De Haske Publications
(BT.DHP-1074334-010).
9x12 inches.
English-German-French-Dut
ch. Cantica de
Sancto Benedicto is a
three-movement work for
mixed choir, soprano
solo, concert band and
organ ad libitum - on
Latin lyrics that relate
to the life of Saint
Benedict. It was
commissioned by the city
of Norcia in Italy,
whereBenedict was born.
The holy Benedict
(480-547) is considered
the founder of monastic
life within the Roman
Catholic Church. His
enormous influence is
especially owing to his
monastic rule, the Regula
Benedicti.Jacob de Haan
has named the movements
ofCantica de Sancto
Benedicto after the
Holy Trinity: the Father
(Gloria Patri),
the Son (Gloria
Filio) and the Holy
Spirit (Gloria
Spiritui Sancto). The
lyrics of thehymn
Gemma Caelestis,
(which, like the
othertexts, were
originally used in
Gregorian chant) are
voiced by the choir. To
this purpose, Jacob de
Haan composed new,
choral-like, homophone
music. The sequence
Laeta Quies is
rendered by the soprano;
the verses (divided over
the threemovements) are
alternated with those of
Gemma Caelestis.
The work closes with an
impressive grand finale,
in which texts are used
from the proprium of the
mass in honor of the
saint’s day of the
holy Benedict (11 July).
Notes to the
conductor:For this
cantata, there are
various possibilities for
the performance. The
first involves a
performance in which the
choir and soprano parts
are only accompanied by
organ. Such a performance
has several advantages:
since the band never
soundstogether with the
choir and the soprano, no
balance problems occur,
and even a performance
with a large concert band
and a small cantata choir
is conceivable. A special
layout is also possible -
with which you can set up
a
three-dimensionalperforma
nce in a church. For
example, the choir can
sing in the chancel,
accompanied by the choir
organ; the soprano can
stand on the gallery,
accompanied by the main
organ; and the band can
be seated in another part
of the church. The choir
couldalso sing from a
gallery. With layouts
like this, working with
two conductors is
advisable. Choral parts
available
separately.
Koor
partijen apart
verkrijgbaar.
Cantica de Sancto
Benedicto ist ein
dreisätziges Werk
für gemischten Chor,
Sopran-Solist,
sinfonisches
Blasorchester und Orgel
ad lib. - zu lateinischen
Texten über das Leben
des Heiligen Benedikt. Es
entstand im Auftrag der
italienschen StadtNursia,
dem Geburtsort von
Benedikt. Jacob de Haan
benannte die Sätze von
Cantica de Sancto
Benedicto nach der
Heiligen Dreifaltigkeit:
der Vater (Gloria
Patri), der Sohn
(Gloria Filio) und
der Heilige Geist
(Gloria
SpirituiSancto). Der
Text zur Hymne Gemma
Caelestis (der wie
die übrigen Texte
ursprünglich aus dem
Gregorianischen Choral
stammt) wird vom Chor
gesungen. Zu diesem Zweck
komponierte Jacob de Haan
neue choralartige,
homophone Musik. Der
AbschnittLaeta
Quies wird vom Sopran
vorgetragen; die Strophen
(die sich über alle
drei Sätze verteilen)
wechseln sich mit denen
von Gemma
Caelestis ab. Das
Werk endet mit einem
eindrucksvollen
großartigen Finale, in
dem Texte aus dem
Propriumaus der Messe zu
Ehren des Feiertags des
Heiligen Benedikt (11.
Juli) verwendet
werden.Chorstimmen sind
unter folgendem Link
separat erhältlich:DHP
1074334-050Anmerkungen
für den
Dirigenten:Für
dieseKantate gibt es
mehrere
Aufführungsmöglichk
eiten. Die erste ist eine
Version, in der die Chor-
und Sopranstimmen nur von
der Orgel begleitet
werden. Solch eine
Aufführung bietet
mehrere Vorteile: Da das
Blasorchester nie
zusammen mit Chor und
Sopranerklingt, gibt es
keine Probleme mit der
klanglichen
Ausgewogenheit und sogar
eine Aufführung mit
einem großen
Blasorchester und einem
kleinen Kantatenchor ist
denkbar. Eine besondere
Aufstellung für eine
dreidimensionale
Aufführung in einer
Kircheist ebenso
möglich. Der Chor
singt zum Beispiel von
der Kanzel aus, begleitet
von der Chororgel; der
Sopran steht auf der
Galerie, begleitet von
der Hauptorgel,
während das
Blasorchester in einem
anderen Teil der Kirche
aufgestellt ist. Der Chor
kannauch von Galerie aus
singen. Bei solchen
Aufstellungen ist es
ratsam, mit zwei
Dirigenten zu arbeiten.
Die Begleitung der
Singstimmen ist in
Stichnoten für das
Blasorchester notiert.
Wenn das Werk ohne Orgel
aufgeführt wird,
beispielsweise in
einemKonzertsaal, spielt
das Blasorchester die
Begleitung. Die
Begleitstimmen sind
transparent orchestriert,
zugunsten der klanglichen
Ausgewogenheit von
Blasorchester, Chor und
Sopran. Im dritten Satz
(Takte 144-151) gibt es
eine optionale Passage
fürden Chor. Diese ist
nur für eine
Aufführung mit einem
sehr großen Chor
gedacht. Eine weitere
Variante beinhaltet, den
musikalischen
Höhepunkt im dritten
Satz zu überspringen
und direkt von Takt 156
zu Takt 213
weiterzugehen. Gründe
hierfür könnensein:
der etwas höhere
Schwierigkeitsgrad, eine
begrenzte
Aufführungsdauer
und/oder der Wunsch, den
Kantatentext auf Gemma
Caelestis und
Laeta Quies zu
beschränken.
Während einer Messe
oder eines Gottesdienstes
können auch
verschiedeneStrophen
verwendet werden.
Wahlweise kann das
Sopransolo auch vom
Chorsopran gesungen
werden. Alternativ hierzu
können Sie die
Sopranstimmen (komplett
oder teilweise) von einem
Tenor singen lassen.
Für Chöre, die
Cantica de Sancto
Benedictoaufführen
wollen, bietet der
Komponist einen
Extra-Service auf seiner
Website
https://www.jacobdehaan.c
om, wo Audiodateien der
einzelnen Chorstimmen
für das Einstudieren
zu Hause zugänglich
sind. Informationen zu
anderen Werken für
Chor undBlasorchester
(Missa Brevis und
Missa Katharina)
sind ebenfalls dort zu
finden.Chorstimmen
separat
erhältlich.
<
i>Cantica de Sancto
Benedicto (Cantate
de saint Benoît)
est une Å“uvre en
trois mouvements pour
Soprano, Chœur mixte,
Orchestre
d’Harmonie et
Orgue (ad lib.). Basée
sur des textes en latin
relatant la vie de saint
Benoît, cettecantate
est une Å“uvre de
commande pour la ville de
Nursie en Italie, ville
natale du moine.Benoît
de Nursie ou saint
Benoît (vers 480-547)
est considéré comme
l’initiateur de la
vie monastique dans
l’Église
catholique romaine. Son
immenseinfluence est
essentiellement liée
la rédaction
d’une règle de
vie : la Règle
monastique de saint
Benoît (Regula
Benedicti).Jacob de
Haan a choisi de donner
le nom des troispersonnes
de la Sainte-Trinité
aux trois mouvements de
l’œuvre: le
Père (Gloria Patri/
Gloire au Père),
le Fils (Gloria Filio/
Gloire au Fils) et le
Saint-Esprit (Gloria
Spiritui Sancto/ Gloire
au Saint-Esprit).Le
texte de l’hymne
Gemma Caelestis
(utilisé dans le chant
grégorien
l’instar des
autres textes) est
chanté par le
Chœur sur une musique
de nature homophonique
laquelle le compositeur a
donné un style choral.
La séquence Laeta
Quies est chantée
par la Soprano. La prose
de la séquence est
répartie sur lestrois
mouvements en alternance
avec le texte de
l’hymne latine. Le
finale de
l’œuvre est
impressionnant. Il
développe des textes
du Propre de la Messe en
l’honneur de la
Saint-Benoît,
célébrée le 11
juillet. Partitions pour
chœur disponibles
séparément.
Parti per coro
disponibili a parte. $437.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantica de Sancto Benedicto [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Opt. Choir - Grade 4 SKU: BT.DHP-1074334-140 (+)
Concert Band/Harmonie and
Opt. Choir - Grade 4
SKU:
BT.DHP-1074334-140
Saint Benedict
Cantata. Composed by
Jacob De Haan. Musica
Sacra. Score Only.
Composed 2008. De Haske
Publications #DHP
1074334-140. Published by
De Haske Publications
(BT.DHP-1074334-140).
9x12 inches.
English-German-French-Dut
ch. Cantica de
Sancto Benedicto is a
three-movement work for
mixed choir, soprano
solo, concert band and
organ ad libitum - on
Latin lyrics that relate
to the life of Saint
Benedict. It was
commissioned by the city
of Norcia in Italy,
whereBenedict was born.
The holy Benedict
(480-547) is considered
the founder of monastic
life within the Roman
Catholic Church. His
enormous influence is
especially owing to his
monastic rule, the Regula
Benedicti.Jacob de Haan
has named the movements
ofCantica de Sancto
Benedicto after the
Holy Trinity: the Father
(Gloria Patri),
the Son (Gloria
Filio) and the Holy
Spirit (Gloria
Spiritui Sancto). The
lyrics of thehymn
Gemma Caelestis,
(which, like the
othertexts, were
originally used in
Gregorian chant) are
voiced by the choir. To
this purpose, Jacob de
Haan composed new,
choral-like, homophone
music. The sequence
Laeta Quies is
rendered by the soprano;
the verses (divided over
the threemovements) are
alternated with those of
Gemma Caelestis.
The work closes with an
impressive grand finale,
in which texts are used
from the proprium of the
mass in honor of the
saint’s day of the
holy Benedict (11 July).
Notes to the
conductor:For this
cantata, there are
various possibilities for
the performance. The
first involves a
performance in which the
choir and soprano parts
are only accompanied by
organ. Such a performance
has several advantages:
since the band never
soundstogether with the
choir and the soprano, no
balance problems occur,
and even a performance
with a large concert band
and a small cantata choir
is conceivable. A special
layout is also possible -
with which you can set up
a
three-dimensionalperforma
nce in a church. For
example, the choir can
sing in the chancel,
accompanied by the choir
organ; the soprano can
stand on the gallery,
accompanied by the main
organ; and the band can
be seated in another part
of the church. The choir
couldalso sing from a
gallery. With layouts
like this, working with
two conductors is
advisable. Choral parts
available
separately.
Koorpa
rtijen apart
verkrijgbaar.
C
antica de Sancto
Benedicto ist ein
dreisätziges Werk
für gemischten Chor,
Sopran-Solist,
sinfonisches
Blasorchester und Orgel
ad lib. - zu lateinischen
Texten über das Leben
des Heiligen Benedikt. Es
entstand im Auftrag der
italienschen StadtNursia,
dem Geburtsort von
Benedikt. Jacob de Haan
benannte die Sätze von
Cantica de Sancto
Benedicto nach der
Heiligen Dreifaltigkeit:
der Vater (Gloria
Patri), der Sohn
(Gloria Filio) und
der Heilige Geist
(Gloria
SpirituiSancto). Der
Text zur Hymne Gemma
Caelestis (der wie
die übrigen Texte
ursprünglich aus dem
Gregorianischen Choral
stammt) wird vom Chor
gesungen. Zu diesem Zweck
komponierteJacob de Haan
neue choralartige,
homophone Musik. Der
AbschnittLaeta
Quies wird vom Sopran
vorgetragen; die Strophen
(die sich über alle
drei Sätze verteilen)
wechseln sich mit denen
von Gemma
Caelestis ab. Das
Werk endet mit einem
eindrucksvollen
großartigen Finale, in
dem Texte aus dem
Propriumaus der Messe zu
Ehren des Feiertags des
Heiligen Benedikt (11.
Juli) verwendet werden.
Chorstimmen separat
erhältlich.
Cantica de
Sancto Benedicto
(Cantate de saint
Benoît) est une
œuvre en trois
mouvements pour Soprano,
Chœur mixte,
Orchestre
d’Harmonie et
Orgue (ad lib.). Basée
sur des textes en latin
relatant la vie de saint
Benoît, cettecantate
est une œuvre de
commande pour la ville de
Nursie en Italie, ville
natale du moine.Benoît
de Nursie ou saint
Benoît (vers 480-547)
est considéré comme
l’initiateur de la
vie monastique dans
l’Église
catholique romaine. Son
immenseinfluence est
essentiellement liée
la rédaction
d’une règle de
vie : la Règle
monastique de saint
Benoît (Regula
Benedicti).Jacob de
Haan a choisi de donner
le nom des troispersonnes
de la Sainte-Trinité
aux trois mouvements de
l’œuvre: le
Père (Gloria Patri/
Gloire au Père),
le Fils (Gloria Filio/
Gloire au Fils) et le
Saint-Esprit (Gloria
Spiritui Sancto/ Gloire
au Saint-Esprit).Le
texte de l’hymne
Gemma Caelestis
(utilisé dans le chant
grégorien
l’instar des
autres textes) est
chanté par le
Chœur sur une
musique de nature
homophonique laquelle le
compositeur a donné un
style choral. La
séquence Laeta
Quies est chantée
par la Soprano. La prose
de la séquence est
répartie sur lestrois
mouvements en alternance
avec le texte de
l’hymne latine. Le
finale de
l’œuvre est
impressionnant. Il
développe des textes
du Propre de la Messe en
l’honneur de la
Saint-Benoît,
célébrée le 11
juillet. Partitions pour
chœur disponibles
séparément.
Parti per coro
disponibili a parte. $90.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Peanuts Gallery [DVD] Theodore Presser Co.
The making of Ellen Taaffe Zwilich's suite for piano and orchestra. Compo...(+)
The making of Ellen
Taaffe Zwilich's suite
for piano and
orchestra. Composed
by Ellen Taaffe Zwilich
(1939-). DVD. With
Standard notation.
Duration 27 minutes.
Theodore Presser Company
#448-00001. Published by
Theodore Presser Company
(PR.448000010).
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| At the Kansas City Chinese New Year Concert Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
(For String Quartet). By Chen Yi (1953-). String quartet. For String Quartet. Pr...(+)
(For String Quartet). By
Chen Yi (1953-). String
quartet. For String
Quartet. Premiered at the
Corcoran Gallery in
Washington DC.
Contemporary. Full score
(study). Standard
notation. 31 pages.
Published by Theodore
Presser Company . full
score (study).
contemporary.
$28.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Harmony In Blue And Gold Ensemble de Flûtes [Conducteur et Parties séparées] Theodore Presser Co.
By Eric Ewazen. For flute choir (3 flutes in C, alto flute in G). Contemporary. ...(+)
By Eric Ewazen. For flute
choir (3 flutes in C,
alto flute in G).
Contemporary. Score and
parts. Standard notation.
80 pages. Duration 21
minutes. Published by
Theodore Presser Company
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Amazing Grace - Eight Songs of the Spirit Flûte et Guitare Theodore Presser Co.
By Ariel Zilber Traditional. Arranged by Paula Robison Frederic Hand. Solo instr...(+)
By Ariel Zilber
Traditional. Arranged by
Paula Robison Frederic
Hand. Solo instrument
with accompaniment. For
Flute, Guitar. Recorded
for Pucker Gallery,
Boston. Traditional.
Performance score.
Standard notation.
Duration 30 minutes.
Published by Theodore
Presser Company
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Hymn to the Virgin Chorale SSAATTBB SSAATTBB A Cappella Boosey and Hawkes
SSAATTBB a cappella. By Benjamin Britten. (SSAATTBB A Cappella). Boosey and Haw...(+)
SSAATTBB a cappella. By
Benjamin Britten.
(SSAATTBB A Cappella).
Boosey and Hawkes Sacred
Choral. Size 6.75x10.5
inches. 8 pages.
Published by Boosey and
Hawkes.
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