| Dans les ruines d'une abbaye Chorale SATB SATB, Piano [Conducteur] - Intermédiaire Carus Verlag
SSATB Choir, Piano - Level 3 SKU: CA.925200 Composed by Gabriel Faure. Ar...(+)
SSATB Choir, Piano -
Level 3 SKU:
CA.925200 Composed by
Gabriel Faure. Arranged
by Denis Rouger. Separate
edition to the CD.
Secular choral music.
Full Score. Op. 2, No. 1.
Duration 2 minutes. Carus
Verlag #CV 09.252/00.
Published by Carus Verlag
(CA.925200). ISBN
M-007-24914-4. Key: A
major. Language: French.
Text: Hugo,
Victor. The
exuberant amorousness of
a newly-wed couple
pulsates in every note of
Gabriel Faure's Dans les
ruines d'une abbaye (In
the ruins of an abbey).
In this piece, the
reverent silence of
prayer no longer
prevails, but within the
venerable walls various
shouts of joy and
sparkling laughter are
now heard. The old graves
have long been overgrown
by stinging nettles, and
a new dawn of spring and
of love fills the air.
Napoleonic
post-revolutionary
France, which drove the
author of the poem,
Victor Hugo, into exile,
is also building a new
world on the ruins of
olden days. Although the
setting by the composer,
40 years younger than the
poet, uses the
romanticized backdrop of
the old abbey, with its
6/8-meter it reflects the
uninhibited happiness of
the two lovers, who do
not look back. These art
songs were originally
composed not for chamber
choir, but for solo voice
and piano. Denis Rouger
has carefully adapted
them to suit the
requirements and
expressive possibilities
offered by a larger
ensemble, without losing
the any of the qualities
of the original in the
process. Each part in the
choir has a melodic line
drawn from the harmonic
and rhythmic framework.
In the process, the
variety and refinement of
the choral language
combines with an enormous
flexibility in form and
expression, as French
melodies or German art
song demand from a
soloist and pianist. The
songs have been recorded
by the figure humaine
chamber choir on the CD
Kennst du das Land ...
(Carus 83.495). $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Andrea Bocelli, Celine Dion: The Prayer (from Quest for Camelot)
Chorale SATB SATB, Piano [Octavo] Alfred Publishing
By Celine Dion and Andrea Bocelli. By David "Babyface" Foster and Carole Bayer S...(+)
By Celine Dion and Andrea
Bocelli. By David
"Babyface" Foster and
Carole Bayer Sager.
Edited by Bob Dingley.
Arranged by Teena Chinn.
Performance Music
Ensemble; Single Titles.
Pop choral octavo (SATB).
Pop Vocal, Adult
Contemporary and Choral.
Octavo. With chord names.
12 pages. Alfred Music
#00-CH9991. Published by
Alfred Music
(1)$2.10 $1.995 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christ Has Called Us to New Visions / Lord, Whose Love in Humble Service Chorale SATB GIA Publications
By C. 1710 From Oude En Nieuwe Hollantse Boerenlities En Contradanseu Dutch Melo...(+)
By C. 1710 From Oude En
Nieuwe Hollantse
Boerenlities En
Contradanseu Dutch
Melody. Arranged by
Richard Proulx. For
Voices: SATB, assembly.
Instruments: Brass
quintet: 2 trumpets (Bb
or C), horn in F (or
trombone substitute),
trombone, tuba; and
timpani. Organ.
*Restricted reprint box
for "Christ has called."
only; no reprint box for
"Lord, whose love." (see
Worship 3, #?). Chamber
Music Sacred. 14 pages.
Published by GIA
Publications. Level:
easy/medium.
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Lord to Me a Shepherd Is Chorale SATB SATB, Orgue - Intermédiaire GIA Publications
SATB choir, organ accompaniment - Intermediate SKU: GI.G-8302 Composed by...(+)
SATB choir, organ
accompaniment -
Intermediate SKU:
GI.G-8302 Composed by
Till MacIvor Meyn. Lent 4
A, Easter 4 A, Ordinary
Time 16 B, Ordinary Time
28 A, Christ the King A,
Sacred Heart C. Choral.
Sacred. Octavo. 16 pages.
GIA Publications #8302.
Published by GIA
Publications (GI.G-8302).
UPC: 785147830207.
English. Text Source:
Psalm 23, Bay Psalm
Book, 1640.
Scripture: Psalm
23. The Shaker-like
character of the melody
in this treatment of
“Psalm 23â€
from the Bay Psalm Book,
1640, rises steadily to a
triumphant climax, moving
from an a cappella
statement of the melody,
mounting through more
complex harmonic textures
toward its powerful
end. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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? $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christkindl-kumedi Score Chorale SATB [Conducteur] - Débutant Schott
Mixed choir (SATB) with children's choir, soloists (SSAATB), 6 speakers and inst...(+)
Mixed choir (SATB) with
children's choir,
soloists (SSAATB), 6
speakers and instruments
(Bfl (SA), Ob, Klar, V
I-III, Vc, KB, Git, Pk,
Schlgz) - very easy
SKU: HL.49015174
Geistliches
Komodienspiel aus
Bayern. Composed by
Cesar Bresgen. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. 64
pages. Duration 75'.
Schott Music #ED 5443-10.
Published by Schott Music
(HL.49015174). ISBN
9790001061438.
German. Das
geistliche Komodienspiel
aus Bayern, die
Christkindl-Kumedi, haben
bauerliche Autoren fur
ein bauerliches Publikum
geschrieben, das oftmals
weitverstreut auf
einsamen Hofen wohnte.
Die Bauern stellten die
Darsteller und den
Regisseur; mit der
Inszenierung zog man nun
von Bauernhof zu
Bauernhof, von
Bauernstube zu
Bauernstube. Man kann
also mit gutem Recht von
einem Vorlaufer unseres
modernen 'Zimmertheaters'
sprechen! Und genau wie
bei unserem heutigen
Zimmertheater war auch
damals die Ausstattung
und die Kostumierung der
Christkindl-Kumedi sehr
einfach, man richtete
sich mehr oder weniger
nach den vorhandenen
Moglichkeiten. Der
Spieltext folgt nahezu
unverandert einer
Handschrift aus Grainet
bei Passau, welche den
Titel tragt: 'Geistliches
Komedien-Spiel zu Ehren
des Christkindelein Anno
den 20 ten Janer 1836,
dargeboten in August
Hartmann und Hyazinth
Abeles Volksschauspielen
(Leipzig 1880)'. Einige
der Originalmelodien sind
in unsere Neugestaltung
ubernommen worden; sie
stammen aus dem
bayrisch-osterreichischen
Grenzraum. Die ubrige
Musik wurde neu
geschaffen.' (Cesar
Bresgen) Die
Christkindl-Kumedi ist
fur Kinder ab 6 Jahren
geeignet; die Partien von
Maria, dem Vorsanger und
dem Engel sollten
entweder von erfahrenen
und entsprechend
ausgebildeten
Jugendlichen oder von
Erwachsenen gesungen
werden. $75.00 - Voir plus => Acheter | | |
| Lord, Whose Love in Humble Service Chorale SATB SATB, Orgue - Intermédiaire GIA Publications
SATB choir, assembly, organ accompaniment - Intermediate SKU: GI.G-9243 C...(+)
SATB choir, assembly,
organ accompaniment -
Intermediate SKU:
GI.G-9243 Composed by
Kevin Vogt. Choral. Tune
Name: St. Vincent.
Sacred. Octavo. 16 pages.
GIA Publications #9243.
Published by GIA
Publications (GI.G-9243).
UPC: 785147924302.
English. Text Source:
Albert Bayly,
1901–1984, alt.
Text by Albert F.
Bayly. The text of
this captivating piece
for organ, SATB choir,
and assembly was written
in response to a call for
new hymns on peace and
justice. It progresses
from Christ’s
sacrifice, through our
worship, to our call to
offer faithful service to
the poor, homeless, and
the hungry. A beautifully
written a cappella
section leads seamlessly
into an organ interlude
before the return of the
choir with added descant.
The assembly part is
optional. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Come In from the Rain Chorale SATB SATB A Cappella Hal Leonard
By Melissa Manchester, Carole Bayer Sager. Arranged by Mac Huff. (SATB A Cappel...(+)
By Melissa Manchester,
Carole Bayer Sager.
Arranged by Mac Huff.
(SATB A Cappella).
Choral. 8 pages.
Published by Hal Leonard.
$1.80 $1.71 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
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