Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230).
ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English.
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Take Him, Earth Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano
SKU: PR.342402020
In Memoriam John F.
Kennedy, 1917-1963.
Composed by Steven
Stucky. Sws. Premiered by
ACDA National Conference,
Craig Jessop, cond.;
Meyerson Symphony Center,
Dallas, TX. Secular
choral. Performance
Score. With Standard
notation. Composed
November 3 2012. 24
pages. Duration 13
minutes. Theodore Presser
Company #342-40202.
Published by Theodore
Presser Company
(PR.342402020).
ISBN
9781598064995. UPC:
680160616084. 8.5 x 11
inches. English. Text:
William Shakespeare;
Aurelius Prudentius
Clemens; Aeschylus.
Aurelius Clemens, William
Shakespeare, Aeschylus.
Texts from Aurelius
Prudentius Clemens,
Aeschylus, and William
Shakespeare.
When
Tim Sharp, Executive
Director of the ACDA,
offered Stucky the Brock
Memorial Commission, it
was decided that the text
would commemorate the
50th anniversary of the
assassination of John F.
Kennedy, since the annual
convention would take
place in Dallas of that
year. To that end, Stucky
chose four different but
pertinent texts to honor
the occasion, although
never referencing JFK by
name. Take Him, Earth was
premiered at the ACDA
convention in March,
2013. Originally scored
for chorus and chamber
ensemble of nine
instruments (available on
a rental basis), Take
Him, Earth is presented
here in piano reduction.
For advanced choirs.
Duration: 13'. When
Tim Sharp, Executive
Director of the American
Choral Directors
Association, very
kindlyoffered me the
Raymond W. Brock Memorial
Commission for 2013, he
suggested that because
thepremiere would take
place at the national
conference in Dallas in
the 50th year since the
assassinationof John F.
Kennedy in that city, the
text might refer in some
way to that grim
anniversary. Hesuggested,
too, that I consider
using a chamber ensemble
or chamber orchestra to
accompany thechorus.I
took these suggestions to
heart, but at the same
time I wanted to write
something universal
enoughto be appropriate
on other occasions, in
other settings. Thus the
score is dedicated to
PresidentKennedy’s
memory, but otherwise he
is never referred to by
name. Instead, I
assembled a group oftexts
that are associated with
him in some way, but that
also stand alone as a
more general eulogy.As a
refrain, there are a few
lines from the early
Christian burial hymn
that begins “Take
him,Earth, for
cherishingâ€
— lines that were
earlier set to music by
Herbert Howells in his
classic motetcommissioned
for Kennedy’s
memorial service in 1963.
The lines of Aeschylus
“Drop, drop
— inour sleep,
upon the heart sorrow
falls†from
Agamemnon were quoted by
Robert F. Kennedy uponthe
death of Martin Luther
King in April 1968. The
celebrated “When he
shall die, cut him out
inlittle starsâ€
from Act III of
Shakespeare’s
Romeo and Juliet was
cited by RFK a few months
after hisbrother’s
murder.
Composed
by Carl Maria von Weber.
Edited by Frank Ziegler
and Johannes Kepper. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. 306
pages. Schott Music
#WGA1021. Published by
Schott Music
(HL.49042434).
ISBN
9783795794491.
10.25x13.5x1.141 inches.
German.
Carl Maria
von Weber's fame rests
mainly on 'Der
Freischutz'. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was not conducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer, critic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in 10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (6-8 vols.)
are edited in Berlin and
the letters (8-10 vols.)
and other writings (2
vols.) in Detmold. This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Weber's
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based on
all available authentic
sources, accompanied by a
detailed documentation of
the genesis and a list of
variants for each work.
The musicological
importance of the works
will be evaluated by
placing them in their
historical context, the
presentation of their
genesis, history and
Critical Commentaries.
The letters, writings and
diaries will be treated
as inter-related and
relevant to each other in
the commentaries,
therefore readers should
benefit from a wealth of
concise information and
cross-references.
Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Dorothea Schröder.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 1. Oper, Barock
(Opera, Baroque).
Complete edition, Score.
HWV 1. Duration 3 hours,
30 minutes. Baerenreiter
Verlag #BA04050_00.
Published by Baerenreiter
Verlag (BA.BA04050).
ISBN 9790006443598. 33
x 26 cm inches. Language:
German. Text: Feustking,
Friedrich
Christian.
“A
lmiraâ€,
Handel’s first
opera, was well received
when premiered in 1705 at
the Theater am
Gänsemarkt in Hamburg.
The director was Reinhard
Keiser, who, remarkably,
had himself already set
Friedrich Christian
Feustking’s text
to music. The role of
Fernando was sung by
Johann Mattheson. The
translation used by
Handel leaves several
Italian arias in their
original language,
resulting in a delightful
mixture of German and
Italian.
The opera
which, after sundry
entangled romances, ends
in the wedding of three
couples, is characterised
by exuberant scenes: the
procession at
Almira’s crowning
ceremony, a duel, a
prison scene and a
masked-ball involving the
three continents Europe,
Africa and Asia.
The vocal score
to “Almiraâ€
by George Frideric Handel
brings about a small
sensation: Whilst
conducting a reenactment
of this work in 1732,
Georg Philipp Telemann
removed the Aria no. 28
“Ingrato,
spietato†from his
conducting score. Since
then this aria has been
deemed lost. Due to
necessity only the edited
vocal text devoid of any
music was presented in
the 1994 volume of the
“Halle Handel
Editionâ€.
Thanks to a recently
discovered contemporary
manuscript copy from the
beginning of the 18th
century which was found
in the music library of
the Mariengymnasium in
Jever, this aria has now
been made available to
performers for the first
time in this new vocal
score edition. Previous
to this the corresponding
pages could only be seen
as a facsimile in an
article of the
“Göttinger
Händel-Beiträgeâ
. Now the aria can
be performed again.
Furthermore, with the
help of this new source,
missing measures in the
basso continuo which had
initially been completed
by the editor of the
“Halle Handel
Edition†volume,
could be reconstructed
from the basso continuo
part of the Bellante aria
“Ich brenne
zwar†(no. 71).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Sacris solemniis Chorale SATB SATB A Cappella CanticaNOVA Publications
Composed by Claudio Casciolini. Arranged by Timothy Flynn. A beautiful, yet easy...(+)
Composed by Claudio
Casciolini. Arranged by
Timothy Flynn. A
beautiful, yet easy
addition to your choir's
Eucharistic repertoire,
this motet by the former
Maestro di cappella at
the church of San Lorenzo
in Damaso (Rome) features
comfortable vocal ranges
and primarily homophonic
textures with some
imitative count.
Communion, General.
Published by CanticaNOVA
Publications (C5.7085).
SATB choir with piano or full orchestra SKU: EC.RBM-114 Composed by Rando...(+)
SATB choir with piano or
full orchestra
SKU:
EC.RBM-114
Composed
by Randol Alan Bass. 21st
Century. Choral score.
Randol Bass Music
#RBM-114. Published by
Randol Bass Music
(EC.RBM-114).
English.
This
choral-orchestral
composition was
commissioned by the Texas
Master Chorale – Brad
Bouley, conductor – to
help celebrate their 20th
anniversary of
music-making in the
Houston, TX area.For this
special occasion, Carol
Taylor – a member of
the chorus – created a
special poem for the use
of the composer which
encompasses the breadth
and variety of music in
the state of Texas. The
composer was most
grateful to have had her
creative input for this
project.The work is
composed in a fairly
free-form fashion, in
keeping with the scope
and varied nature of the
musical references in the
poem. After an extended
orchestral introduction,
the chorus begins a
journey which vocally
spans the disparate
regions of the Lone Star
State and the ubiquity of
music along the way.
During this musical
journey the listener is
reminded of many
differing ways in which
Texans share music with
one another and the world
– from abundant popular
and folk singing to the
highest levels of art
music performance.The
piece is scored for large
orchestra (3332 4331 timp
3 perc hp stgs), and the
accompaniment is
available on a
rental-only basis. This
accompaniment is intended
for orchestral
performance of this paean
to vocal music in the
state of Texas: Texas Is
Singing.( dur: 10:00
).
Mixed choir SKU: FG.55011-568-2 Composed by Alex Freeman. Fennica Gehrman...(+)
Mixed choir
SKU:
FG.55011-568-2
Composed by Alex Freeman.
Fennica Gehrman
#55011-568-2. Published
by Fennica Gehrman
(FG.55011-568-2).
ISBN
9790550115682.
The
texts of Alex Freeman's
Calle sin nombre for
mixed choir (2019) are
drawn from quotations of
families seeking asylum
who are victims of the
policies of family
separation aggressively
and abruptly enacted by
the administration of
President Donald John
Trump. These desperate
words tread with bare
feet across shards of
fragmented lines from
Emma Lazarus's The New
Colossus (the iconic poem
enshrined at the base of
The Statue of Liberty). A
rehearsal reduction for
piano is included in the
publication. Alex Freeman
(b. 1972) grew up in
Raleigh, North Carolina.
Around the age of 13 he
became interested in
composing. In 1998 he
moved to New York to
begin his Doctoral
studies at the Juilliard
School, studying with
Christopher Rouse. The
focus of his doctoral
document led him to
Finland. The recipient of
a Fulbright Full
Fellowship, he moved to
Helsinki in 2001 to
research Sibelius's
sketches and study
composition with Eero
Hameenniemi at the
Sibelius Academy. Dr.
Freeman is currently
composing full-time and
lives with his wife and
children in Finland.
SATB (English Language Edition). Composed by Franz Joseph Haydn (1732-1809). Edi...(+)
SATB (English Language
Edition). Composed by
Franz Joseph Haydn
(1732-1809). Edited by
Robert Shaw and Alice
Parker. Choral (Sacred);
Choral Worship Cantata;
Larger Works;
Masterworks; Performance
Music Ensemble; Worship
Resources. Lawson-Gould.
Classical; Masterwork;
Sacred. Book. 160 pages.
Alfred Music #00-LG51595.
Published by Alfred Music
By Douglas Nolan. For SATB Choir, 2 flutes, and optional Children's Choir (SATB)...(+)
By Douglas Nolan. For
SATB Choir, 2 flutes, and
optional Children's Choir
(SATB). Shawnee Press. 16
pages. Shawnee Press
#A7928. Published by
Shawnee Press
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892).
The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray.
Composed by Caroline Ailin, Dua Lipa, Emily Warren, and Ian Kirkpatrick. Arr...(+)
Composed by Caroline
Ailin,
Dua Lipa, Emily Warren,
and
Ian Kirkpatrick. Arranged
by
Alan Billingsley.
Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Pop; Radio;
Secular.
Choral Octavo. 12 pages.
Alfred Music #00-48952.
Published by Alfred Music
Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Terence Best. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 41. Complete
edition, Score. HWV 42.
Duration 3 hours.
Baerenreiter Verlag
#BA04070_00. Published by
Baerenreiter Verlag
(BA.BA04070).
ISBN
9790006495870. 33 x 26 cm
inches. Text Language:
Italian. Text: Paolo
Antonio
Rolli.
Handelâ€
s
“Deidamiaâ€
was premièred on 10
January 1741 only a few
weeks after
“Imeneoâ€.
The librettist Paoli
Rolli , a previously
unsucessful librettist
for Handel, delivered
with his finest work
“Deidamiaâ€.
On 10 February 1741 the
third and final opera
performances of this work
took place under
Handel’s
direction. Oddly enough
“Deidamiaâ€
would not be performed
again until the beginning
of the 20th century. This
opera is based on the
themes of humour and
seriousness. The personal
harmonising of Heroism
(Achilles) and Love (
Deidamia ) build on the
essential dramatic
features of this work.
“Deidamia†is
the last great opera in a
series of masterpieces:
“Orlandoâ€,
“Poroâ€,
“Ezioâ€,
“Ariodanteâ€,
“Alcinaâ€,
“Serse†and
“Imeneoâ€. The
vocal score is based on
the Urtext of the Halle
Handel Editon.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
By Pepper Choplin. For SATB choir, soloist and piano (with optional rhythm, digi...(+)
By Pepper Choplin. For
SATB choir, soloist and
piano (with optional
rhythm, digital
keyboard). Christ the
King, General, Missions,
Stewardship, Sacred.
Sacred Anthem
By J. Paul Williams. For SATB Choir. Choral, Bass/Percussion, Tracks, General Us...(+)
By J. Paul Williams. For
SATB Choir. Choral,
Bass/Percussion, Tracks,
General Use, All Saints
Day, Homecomings,
Missions, Youth Choirs
and Sacred. Sheet Music.
Published by Shawnee
Press.
Mixed choir SKU: FG.55011-773-0 By William Shakespeare. By Alex Freeman. ...(+)
Mixed choir
SKU:
FG.55011-773-0
By
William Shakespeare. By
Alex Freeman. Classical,
contemporary. Book.
Fennica Gehrman
#55011-773-0. Published
by Fennica Gehrman
(FG.55011-773-0).
ISBN
9790550117730.
Alex
Freeman's A Wilderness of
Sea (SSSSAAAATTTTBBBB)
draws from four of
Shakespeare’s most
famous works. It
emphasizes a common
thread among those works
that addresses two of the
most universal aspects of
human existence: water
and impermanence. The
recording of the work by
Helsinki Chamber Choir
conducted by Nils
Schweckendick is
published by the label
BIS - follow the link to
listen to it.
Duration: c. 15'
Alex Freeman (b.
1972) grew up in Raleigh,
North Carolina. Around
the age of 13 he became
interested in composing.
In 1998 he moved to New
York to begin his
Doctoral studies at the
Juilliard School,
studying with Christopher
Rouse. The focus of his
doctoral document led him
to Finland. The recipient
of a Fulbright Full
Fellowship, he moved to
Helsinki in 2001 to
research Sibelius's
sketches and study
composition with Eero
Hämeenniemi at the
Sibelius Academy. Dr.
Freeman is currently
composing full-time and
lives with his wife and
children in Finland.
SATB choir with orchestral or piano accompaniment (3333 / 4331, timp, 3 perc, hp...(+)
SATB choir with
orchestral or piano
accompaniment (3333 /
4331, timp, 3 perc, hp,
org, stgs [opt.
handbells])
SKU:
EC.RBM-014
Composed
by Randol Alan Bass.
Arranged by Randol Alan
Bass. General. Christmas,
Sacred, 21st Century.
Choral score. Duration
4:00″. Randol Bass
Music #RBM-014. Published
by Randol Bass Music
(EC.RBM-014).
English.
This
stand-alone arrangement
was excerpted from the
final section of the
larger work Christmas
Flourish [RBM-103]. The
setting is begins in a
restrained, but martial,
fashion and becomes
fuller and more exuberant
over the course of its
4-minute duration. As it
concludes majestically
with great orchestral
flourish and fervor, this
music is most useful when
presented as Holiday
concert finale. Duration:
4:00″.
The Reproaches Chorale SATB SATB A Cappella CanticaNOVA Publications
Composed by James Morrison. Text: The Roman Missal. Ritual music for Good Friday...(+)
Composed by James
Morrison. Text: The Roman
Missal. Ritual music for
Good Friday. Good Friday.
Octavo. Published by
CanticaNOVA Publications
(C5.3086-2).
SATB choir, organ or orchestra - Medium SKU: PL.0619 Composed by Bruce Sa...(+)
SATB choir, organ or
orchestra - Medium
SKU: PL.0619
Composed by Bruce Saylor.
Cathedral. Choral,
Christmas. Choral score.
Paraclete Press #0619.
Published by Paraclete
Press (PL.0619).
* Bruce
Saylor's newly composed
carol Love Begotten is
combined with the beloved
Christmas carols, Gloria,
Greensleeves, Ding!Dong!,
Infant Holy and Deck the
Hall * glorious carol
cantata for the Christmas
season * vibrant
instrumental interludes
and introductions:
constant variety through
tempo changes, voicing,
articulation and dynamics
* mixture of contrapuntal
and homophonic writing,
along with a treble solo
to begin Greensleeves *
plan ahead to include the
orchestral version for
next Christmas season.
Sure to be a
favorite!
SATB choir, organ SKU: LO.10-5531S Composed by Jaebon Hwang. Choral. Sacr...(+)
SATB choir, organ
SKU:
LO.10-5531S
Composed
by Jaebon Hwang. Choral.
Sacred Anthem. Octavo.
Sacred Music Press
#10/5531S. Published by
Sacred Music Press
(LO.10-5531S).
ISBN
9780787771706.
Jaeb
on Hwang has set words
from the prophet Jeremiah
to beautiful and
expressive music.
Beginning with a
chant-like melody, the
music unfolds like a
flower, mirroring the
text speaking of a tree
planted by the water that
does not cease to bear
fruit..
SATB choir with orchestral or piano accompaniment (Mixed Voices) SKU: EC.RBM-...(+)
SATB choir with
orchestral or piano
accompaniment (Mixed
Voices)
SKU:
EC.RBM-007
Composed
by Randol Alan Bass. 21st
Century. Octavo. Randol
Bass Music #RBM-007.
Published by Randol Bass
Music (EC.RBM-007).
English.
This
arrangement represents
the 5th movement of the
larger work Canticles of
Praise [], and has here
been separated as a
stand-alone anthem. The
hymn tune CWM RHONDDA is
utilized throughout –
with the two texts
appearing in the title
order as the work
unfolds. This setting
begins and ends with a
sparse, Billings-like
treatment of the tune
with a somewhat bare
orchestration, while a
more traditional 4-part
rendering of the
well-known hymn with
richer underscoring comes
forth in the center
section. An optional
narration exists for use
with the larger work,
Canticles of
Praise.
Full
orchestral accompaniment:
2222 / 2221, timp, 2
perc, hp, stgs,
Orchestral performance
does not require the use
of organ.