| The Garden of the Finzi-Continis Chorale SATB [Vocal Score] Theodore Presser Co.
Opera Vocal Soloists, SATB Chorus, Orchestra SKU: PR.411411640 An Oper...(+)
Opera Vocal Soloists,
SATB Chorus, Orchestra
SKU: PR.411411640
An Opera in Two
Acts. Composed by
Ricky Ian Gordon. Vocal
score. Duration 2
minutes, 30 seconds.
Theodore Presser Company
#411-41164. Published by
Theodore Presser Company
(PR.411411640). ISBN
9781491137642. UPC:
680160691098. The Garden
of the Finzi-Continis
novel by Giorgio
Bassani. Based on
Bassani’s 1962 novel,
THE GARDEN OF THE
FINZI-CONTINIS dramatizes
the true story of a
prosperous Jewish
family’s disruptions
and consequences from
state-mandated
antisemitism in Italy
during World War II.
Gordon describes the
opera as “romantic,
sun-drenched, and
cataclysmic, all at the
same time.” This
dramatically topical and
personal grand opera
premiered at New York
City Opera and National
Yiddish Theatre
Folksbiene to rave
reviews in 2022. Chris
Ruel wrote in OperaWire,
“I have chosen Ricky
Ian Gordon and Michael
Korie’s THE GARDEN OF
THE FINZI-CONTINIS as my
favorite opera of
2022.”. At one
point, in 2008, I was
walking down 72nd Street,
and I passed the video
store, (this is when
there were video stores)
and I thought to myself,
I wonder if Kevin (my
partner) has ever seen
The Garden of the
Finzi-Continis? which was
always one of my favorite
movies. My reaction when
we watched it that night
was unlike any other time
I had seen it. I was
wrenched, sobbing,
inconsolable. My heart
felt like the autumn
leaves we see blowing
through the garden at the
end of the movie. It
seemed immediately that
this had to be my next
opera. I called Michael
Korie, and we both bought
the Bassani novel and
read it. We settled on
it. It felt clear that we
both had a collective
story to tell through
it.Because this opera is
so close to both of our
hearts, it is dedicated
to our fathers.It is not
only that The Garden of
the Finzi-Continis is a
Holocaust story that
makes it so resonant for
me, though obviously this
is no small matter, but
the tragedy of people
trying to live their
lives, or actually living
them, their petty
disappointments, their
heartbreaks, against the
backdrop of total
catastrophe… that makes
it so moving. They cannot
possibly imagine what
will befall them, but we
know… and this makes
their every move
fascinating and
devastating… like
watching moths under a
glass. It is romantic,
sun-drenched and
cataclysmic, all at the
same time.This is why I
had to write it. $125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crossing the Bar Chorale SATB SATB, Piano Carl Fischer
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. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Journey of Harriet Tubman Chorale SATB SATB, Percussion(s) Pavane Publishing
SATB Full Score Choral; Optional Percussion (FULL SCORE) SKU: HL.268960 <...(+)
SATB Full Score Choral;
Optional Percussion (FULL
SCORE) SKU:
HL.268960 Full
Score. Composed by
Ron Kean. Pavane Secular.
Spiritual. Softcover. 112
pages. Pavane Publishing
#P8002. Published by
Pavane Publishing
(HL.268960). UPC:
888680737153.
8.5x11.0x0.271
inches. This
5-movement, multi-media
choral drama honors one
of the great heroes of
the emancipation era. The
journey of those who
sacrificed becomes a
story we can relive and
honor. Dr. Kean's goal
was to compose and
arrange original music
and traditional
spirituals in a style
that is evocative of the
enslaved Africans' frame
of mind. The spirituals
are accompanied with
kalimba (thumb piano) to
honor the sub-Saharan
African musical tradition
of connecting with
ancestors and with the
marimba to sound like the
west African balafon.
This is a work that will
move an audience to
tears. Medium to
difficult. The Journey of
Harriet Tubman has
generated a much needed
discussion of African
American enslavement and
and cultural
appropriation. The
composer has dedicated
half of his royalties
from this work to â??The
Equal Justice
Initiative,â? a
private, 501(c)(3)
nonprofit organization
that is committed to
ending mass incarceration
and excessive punishment
in the United States, to
challenging racial and
economic injustice, and
to protecting basic human
rights for the most
vulnerable people in
American society. Please
visit
https://eji.org/about for
more info. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Was ist die Welt? Chorale SATB SATB, Piano Carus Verlag
SATB Choir, Piano SKU: CA.926610 From: Sonne, Mond und Sterne. Com...(+)
SATB Choir, Piano SKU:
CA.926610 From:
Sonne, Mond und
Sterne. Composed by
Peter Schindler. Carus
digital: Extra digital
products. Full Score.
Duration 3 minutes.
Published by Carus Verlag
(CA.926610). ISBN
9790007295578.
German. Peter
Schindler's full-length
secular choral work
Sonne, Mond und Sterne
(Sun, Moon and Stars)
narrates a love story
based on old texts which
are given a new
interpretation through
these musical settings.
Some individual numbers
were published in spring,
and now more movements
with piano accompaniment
are available in print
and digitally.-
choral work of medium
difficulty- will
appeal to experienced
Brahms Requiem singers as
well as ambitious chamber
or youth choirs with a
gospel, pop or jazz
background-cross-over
between jazz, chanson,
and chamber music
Peter Schindler
about Was ist die
Welt?A strict Allegro
ben ritmato symbolises
how inexorable the course
of the world is. The
choir chants the question
about what Welt (the
world) actually is.
Hectic bustle is
expressed through a
pulsing basic motif. This
is repeated constantly
and moves through the
parts. A lyrical B flat
minor in the central
section allows us to
float like shadows on the
way into a dream.The
song text is a collage.
The first verse, by the
Baroque poet Christian
Hoffmann von
Hoffmannswaldau, is
concerned with the
vanitas motif: the world,
and everything which
seems beautiful to us, is
ephemeral. The second and
third verses were written
in the 18th century by
Johann Gottfried Herder.
Here, the poet expounds
the view that real life
does not take place in
the world and that
people's mathematical
abilities are
insufficient to measure
space and
time. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Live to See Another Day Chorale SATB SATB, Piano Shawnee Press
Composed by Burt Bacharach and Rudy Perez. Arranged by Mark Hayes. Shawnee Pre...(+)
Composed by Burt
Bacharach
and Rudy Perez. Arranged
by
Mark Hayes. Shawnee
Press.
Pop. Octavo. 12 pages.
Published by Shawnee
Press
$2.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Antiphon Chorale SATB SATB, Orgue - Intermédiaire Boosey and Hawkes
SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. S...(+)
SATB and Organ. By
Benjamin Britten.
(SATB). Boosey and Hawkes
Sacred Choral. Size
7x10.5 inches. 14 pages.
Published by Boosey and
Hawkes.
$5.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115600 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc SKU:
CA.3115600 Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Full score.
Composed 1729. BWV 156.
28 pages. Duration 17
minutes. Carus Verlag #CV
31.156/00. Published by
Carus Verlag
(CA.3115600). ISBN
9790007186777. Language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115619 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc SKU:
CA.3115619 Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Epiphany. Set of
Orchestra Parts. Composed
1729. BWV 156. Duration
17 minutes. Carus Verlag
#CV 31.156/19. Published
by Carus Verlag
(CA.3115619). ISBN
9790007208813. Language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and parts available
separately - see item
CA.3115600. $80.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115603 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc SKU:
CA.3115603 Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Vocal score.
Composed 1729. BWV 156.
24 pages. Duration 17
minutes. Carus Verlag #CV
31.156/03. Published by
Carus Verlag
(CA.3115603). ISBN
9790007186784. Language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
available separately -
see item CA.3115600. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115605 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc SKU:
CA.3115605 Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Choral Score.
Composed 1729. BWV 156. 2
pages. Duration 17
minutes. Carus Verlag #CV
31.156/05. Published by
Carus Verlag
(CA.3115605). ISBN
9790007186791. Language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
available separately -
see item CA.3115600. $3.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115649 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc SKU:
CA.3115649 Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Organ. Composed 1729. BWV
156. 12 pages. Duration
17 minutes. Carus Verlag
#CV 31.156/49. Published
by Carus Verlag
(CA.3115649). ISBN
9790007208820. Language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Au bord de l'eau Chorale SATB SATB, Piano - Intermédiaire Carus Verlag
SSATB Choir, Piano - Level 3 SKU: CA.925400 Composed by Gabriel Faure. Ar...(+)
SSATB Choir, Piano -
Level 3 SKU:
CA.925400 Composed by
Gabriel Faure. Arranged
by Denis Rouger. Separate
edition to the CD.
Lieder, Secular choral
music. Full Score. Op.
8,1. Duration 2 minutes.
Carus Verlag #CV
09.254/00. Published by
Carus Verlag (CA.925400).
ISBN M-007-24916-8.
Key: C sharp minor.
Language: French. Text:
Prudhomme,
Sully. In Au bord
de l'eau (By the water)
two lovers sit as in a
dream, removed from the
real world with all its
conflicts. They only take
themselves seriously, the
surrounding nature lies
as beneath a dream-like
veil: steadily like the
river flowing by, the
passing clouds, the
babbling brook, time also
passes. The poet Sully
Prudhomme, the first
Nobel prizewinner for
literature (1901), ends
the poem with the
assertion that only love
is immortal. With this
knowledge, Gabriel
Faure's setting turns
from a dreamy, deceptive
C sharp minor to a more
promising C sharp major.
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 | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.31...(+)
ATB vocal soli, SATB
choir, oboe, 2 violins,
viola, basso continuo
SKU: CA.3115611
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Epiphany.
Single Part, Violin 1.
Composed 1729. BWV 156. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.156/11. Published by
Carus Verlag
(CA.3115611). ISBN
9790007208776. Text
language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.31...(+)
ATB vocal soli, SATB
choir, oboe, 2 violins,
viola, basso continuo
SKU: CA.3115614
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
basso continuo. Composed
1729. BWV 156. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.156/14. Published by
Carus Verlag
(CA.3115614). ISBN
9790007208806. Text
language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.31...(+)
ATB vocal soli, SATB
choir, oboe, 2 violins,
viola, basso continuo
SKU: CA.3115621
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Oboe. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Oboe. Composed 1729. BWV
156. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.156/21. Published by
Carus Verlag
(CA.3115621). Text
language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.31...(+)
ATB vocal soli, SATB
choir, oboe, 2 violins,
viola, basso continuo
SKU: CA.3115612
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Epiphany.
Single Part, Violin 2.
Composed 1729. BWV 156. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.156/12. Published by
Carus Verlag
(CA.3115612). ISBN
9790007208783. Text
language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I stand with my open grave before me (Ich steh mit einem Fuss im Grabe) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.31...(+)
ATB vocal soli, SATB
choir, oboe, 2 violins,
viola, basso continuo
SKU: CA.3115613
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Viola. Composed 1729. BWV
156. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.156/13. Published by
Carus Verlag
(CA.3115613). ISBN
9790007208790. Text
language:
German/English. Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Chorale SATB - Intermédiaire Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB
choir, recorder, violin
solo, violin, 2 viola,
cello, basso continuo -
Level 3 SKU:
CA.3118219 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Set of
Orchestra Parts. Composed
1714. BWV 182. Duration
30 minutes. Carus Verlag
#CV 31.182/19. Published
by Carus Verlag
(CA.3118219). ISBN
9790007136949. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score and
parts available
separately - see item
CA.3118200. $84.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Chorale SATB - Intermédiaire Carus Verlag
Soli ATB, SATB Choir, Blfl f1, 2 Vl, 2 Va, Vc, Bc - Level 3 SKU: CA.3118249(+)
Soli ATB, SATB Choir,
Blfl f1, 2 Vl, 2 Va, Vc,
Bc - Level 3 SKU:
CA.3118249 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. Organ.
Sacred vocal music,
Cantatas, Lent and
Passiontide, Holy Week,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Single Part, Organ.
Composed 1714. BWV 182.
28 pages. Duration 30
minutes. Carus Verlag #CV
31.182/49. Published by
Carus Verlag
(CA.3118249). Key: A
major. Language:
German/English. Text:
Franck,
Salomo. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score and
part available separately
- see item
CA.3118200. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| King of heaven, be most welcome (Himmelskonig, sei willkommen) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo...(+)
ATB vocal soli, SATB
choir, bass flute
f1,violin, 2 viola,
cello, basso continuo
SKU: CA.3118257
First Leipzig version.
Cantata for Palm Sunday
and the feast of the
Annunciation Cantata for
Palm Sunday and the feast
of the Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Himmelskonig,
Sei Willkommen G-Dur.
Sacred vocal music,
Cantatas, Lent and
Passiontide. Study score.
BWV 182. 60 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/57. Published by
Carus Verlag
(CA.3118257). ISBN
9790007142872. Key: G
major. Text language:
German/English. Ver
sion in G major (A major
= Carus 31.182/00) The
cantata Himmelskonig, sei
willkommen BWV 182 holds
a special place in Johann
Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Chorale SATB - Intermédiaire Carus Verlag
Orchestra Soli ATB, SATB Choir, Recorder, Violin solo, Violin, 2 Viola, Cello, B...(+)
Orchestra Soli ATB, SATB
Choir, Recorder, Violin
solo, Violin, 2 Viola,
Cello, Basso Continuo -
Level 3 SKU:
CA.3118207 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: paperbound. BWV
182. Sacred vocal music,
Cantatas, Lent and
Passiontide, Holy Week,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Study score.
Composed 1714. BWV 182.
Duration 30 minutes.
Carus Verlag #CV
31.182/07. Published by
Carus Verlag
(CA.3118207). ISBN
9790007050276. Key: A
major. Language:
German/English. Text:
Franck,
Salomo. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Chorale SATB - Intermédiaire Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB
choir, recorder, violin
solo, violin, 2 viola,
cello, basso continuo -
Level 3 SKU:
CA.3118213 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Viola 2. Composed 1714.
BWV 182. 8 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/13. Published by
Carus Verlag
(CA.3118213). ISBN
9790007050306. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score and
part available separately
- see item
CA.3118200. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| King of heaven, be most welcome (Himmelskonig, sei willkommen) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo...(+)
ATB vocal soli, SATB
choir, bass flute
f1,violin, 2 viola,
cello, basso continuo
SKU: CA.3118255
First Leipzig version.
Cantata for Palm Sunday
and the feast of the
Annunciation Cantata for
Palm Sunday and the feast
of the Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Himmelskonig,
Sei Willkommen G-Dur.
Sacred vocal music,
Cantatas, Lent and
Passiontide. Choral
Score. BWV 182. 12 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/55. Published by
Carus Verlag
(CA.3118255). ISBN
9790007209865. Key: G
major. Text language:
German/English. Ver
sion in G major (A major
= Carus 31.182/00) The
cantata Himmelskonig, sei
willkommen BWV 182 holds
a special place in Johann
Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Ballad of Bethlehem - SATB with Performance CD Chorale SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.65-2124L Composed by Pepper Choplin. Arranged b...(+)
SATB choir, piano SKU:
LO.65-2124L Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas. SATB
with performance CD.
Lorenz Publishing Company
#65/2124L. Published by
Lorenz Publishing Company
(LO.65-2124L). ISBN
9780787789954. Ball
ads have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so itâ??s
especially fitting that
heâ??s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to â??Shout with the
Shepherds!â? This
season, let the folk-like
energy of Pepper
Choplinâ??s unique voice
bring The Ballad of
Bethlehem to you and your
listeners. â??O sing a
ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â?. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Proclaim the Day Chorale SATB National Music Publishing
Composed by Vijay Singh. National/Emerson Fred Bock. Festival, Concert. Octavo....(+)
Composed by Vijay Singh.
National/Emerson Fred
Bock. Festival, Concert.
Octavo. 8 pages. National
Music Publishers #NM1043.
Published by National
Music Publishers
(HL.232909).
$2.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ballad of Bethlehem Chorale SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.65-2123L Composed by Pepper Choplin. Arranged b...(+)
SATB choir, piano SKU:
LO.65-2123L Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Choral score. Lorenz
Publishing Company
#65/2123L. Published by
Lorenz Publishing Company
(LO.65-2123L). ISBN
9780787789947. Ball
ads have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so itâ??s
especially fitting that
heâ??s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to â??Shout with the
Shepherds!â? This
season, let the folk-like
energy of Pepper
Choplinâ??s unique voice
bring The Ballad of
Bethlehem to you and your
listeners. â??O sing a
ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â?. $12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Messe de Requiem, Opus 48 Chorale SATB - Intermédiaire Barenreiter
(Soprano Voice Solo, BarSolo, SATB Choir, 2 Fl, 2 clarinet, 2 bassoon, 4Hn, 2 Tr...(+)
(Soprano Voice Solo,
BarSolo, SATB Choir, 2
Fl, 2 clarinet, 2
bassoon, 4Hn, 2 Trp,
3trombone, timpani, harp,
2 V, 2 Va, 2 Vc, KB, Org)
- Level 3 SKU:
BA.BA09461-91
Composed by Gabriel
Faure. Edited by
Christina M. Stahl and
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Version of 1900.
Choral score. Opus 48. 19
pages. Baerenreiter
Verlag #BA09461_91.
Published by Baerenreiter
Verlag (BA.BA09461-91).
ISBN 9790006565474. 27
x 19 cm inches. Text
Language:
Latin. TheMesse de
Requiemis probably the
internationally
best-known and most
frequently performed work
by Gabriel Faure . The
composer's first version
was limited to just five
movements and small-scale
forces with low strings,
harp and organ. The work
was then expanded several
times culminating in the
version for large
orchestra of 1900. This
orchestral version forms
the basis of this
edition.
Despite
its comparatively long
period of gestation, the
Requiem forms a stylistic
unity. Unlike other
requiem settings, the
composer foregoes any
theatrical gestures in
this work. A restrained
dynamic range together
with graceful melodic
writing for both soloists
and choir give the work a
gentle and optimistic
character.
The
choral score just as the
vocal score are based on
the volume of the
Complete Works of Gabriel
Faure (BA 9461) published
in 2010. It is important
to note that this choral
score is also compatible
with the first
small-scale version as
well as the second
chamber orchestra
version.
-
High-quality Urtext
edition based on
theComplete Works of
Gabriel Faure - First
systematic evaluation of
all sources - Based on
the large orchestral
version of 1900 -
Choral score suitable for
all versions of the
Requiem
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silence to Song Chorale SATB Daybreak Music
Composed by Becky Hogan and Joseph M. Martin. Arranged by Joseph M. Martin. Da...(+)
Composed by Becky Hogan
and
Joseph M. Martin.
Arranged by
Joseph M. Martin.
Daybreak
Christmas Choral. Advent,
Sacred. Octavo. 16 pages.
Published by Daybreak
Music
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mourning into Dancing from Suite Remembrance Chorale SATB SATB/SATB (Double) - Intermédiaire Schirmer
Composed by Melissa Dunphy. 21st Century, Healing, Praise/Thanksgiving. Durat...(+)
Composed by Melissa
Dunphy.
21st Century, Healing,
Praise/Thanksgiving.
Duration 1 minute, 30
seconds. E.C. Schirmer
Publishing #8744.
Published
by E.C. Schirmer
Publishing
$3.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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