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.
Choral SATB Choir and Piano SKU: CF.CM9787 Composed by Coty Raven Morris....(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9787
Composed by
Coty Raven Morris.
Arranged by Saleel Menon.
Duration 3:45. Carl
Fischer Music #CM9787.
Published by Carl Fischer
Music (CF.CM9787).
ISBN 9781491164587.
UPC: 680160923496. Key: D
major. English.
Original.
The text
for the first voicing
(SSA) of this piece came
to me in the fall of 2020
while teaching at Crosby
High School in Crosby,
Texas. My students,
though enthusiastic to be
back in Choir, were
struggling to cope with
the civil unrest around
them, in addition to the
pandemic. When
considering how I could
help them navigate this
time, I realized that
they were in need of some
sort of consistency, of
feeling grounded in
themselves. As weÂ
focused on building of
community and
citizenship, this text
and tune came to mind,
each phrase highlighting
an element of personal
and community wellness.I
lead with my
spirit keeping love in
the circle around me.
(Social)Expressing my
spirit
(Occupational)Loving what
I can see and cannot see,
I'll take care of the
vessel I am in
(Physical)I love with me
that's under the skin
(Emotional)Taking care of
my mind
(Intellectual)Envisioning
the me I want to be
(Spiritual)I had the
honor of collaborating
with composer/educator
Saleel Menon to create
the beautiful piano
accompaniment and SATB
setting.Who I Want To Be
opens with a solo
functioning as a mantra
throughout the tune. As
the piece continues,
voices join in unison and
harmony to emphasize the
intent.When the repeats
in mm. 48–51
occur, invite students to
share some of their own
mantras and affirmations,
or feel free to borrow
from the words my
students in the Crosby HS
choir inspired me to
write:Allow yourself
graceI am persistentI am
fragile, not brokenYou
are worthyI am worthyI
know that your success is
not my demise!The only
validation I need is my
ownI believe in myselfI
see youIt’s okay
to not be okayBreatheI
love and I am
lovedPrepare yourself for
not only a powerful
performance, but a
rewarding experience and
conversations with your
students.THIS is the
piece you want stuck in
your students’
heads!~CRM.
By Gloria Shayne and Noel Regney. Arranged by Harry Simeone. For SATB Choir (SAT...(+)
By Gloria Shayne and Noel
Regney. Arranged by Harry
Simeone. For SATB Choir
(SATB). Shawnee Press.
Choral, Sacred,
Christmas. 8 pages.
Shawnee Press #A0708.
Published by Shawnee
Press
Eyesight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. ...(+)
Choral SATB choir, piano
SKU: PR.342402070
Composed by Steven
Stucky. -. Ars Nova
Chamber Singers, Boulder
CO. Performance Score.
With Standard notation.
Composed 7-Feb. 8 pages.
Duration 3 minutes.
Theodore Presser Company
#342-40207. Published by
Theodore Presser Company
(PR.342402070).
ISBN
9781491111253. UPC:
680160643226. Octavo
inches. Text: Archibald
R. Ammons. Archibald
Ammons. Text by A.R.
Ammons.
To benefit
Chorus America, Stucky
allowed himself to be
auctioned off as a prize
- the high bidder would
receive a new work from
the composer. After a few
years and not really
hearing anything, Stucky
suddenly found himself up
against a deadline. He
reached back to a
favorite poem by A.R.
Ammons, Eyesight, which,
he says, Won't let...his
reader rest till the very
last word...one of those
sudden insights that
leave us
breathless.. This
piece has an odd history.
A few years ago, I agreed
to be one of
the“prizesâ€
in an auction to benefit
Chorus America: the
highest bidder wouldget a
new piece from me, while
their money went to the
organization. Thewinning
bid came from a
collection of several
professional choruses
anddirectors. But I was
always a little vague
about the details, and,
hearingnothing more about
it for a few years,
forgot the whole
thing.One day I received
a message from Thomas
Edward Morgan, directorof
the Ars Nova Chamber
Singers in Boulder: they
had scheduled thepremiere
of my new piece for a few
weeks later, and could
they have themusic,
please? I needed a text,
quickly, and (as usual) I
was in a Los Angeleshotel
room, not at home with my
books. So I turned to the
internet andsoon tracked
down my favorite poet,
A.R. Ammons
(1926-2001).Once I
stumbled on
“Eyesight,†I
remembered having loved
the poemyears before.
Archie must have loved
it, too, because he
included it bothin his
Collected Poems 1951-1971
and in the later Selected
Poems. It haseverything
you want in an Archie
Ammons poem: what Edward
Hirschcalled his
“offbeat, sideways,
unpredictable
radiance,†his
“homespunglory.â
It has one of his
trademark conversations
with a mountain
(perhapsfrom his native
North Carolina), it has
the fluid motion from one
line tothe next
(enjambment, if you want
to get technical) that
won’t let him
orhis reader rest till
the very last word of the
very last line, and it
has in thatlast line one
of those sudden insights
that leave us breathless:
“some thingsthat go
are gone.â€I miss
Archie, but he’s
not gone. I’m
grateful for the
wonderful poems heleft
us, and I’m
grateful that he was
always generous and kind
when I hadthe chutzpah to
add my music to his.
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
Arranged by Moses Hogan. For SATB choir and piano accompaniment (for rehearsal ...(+)
Arranged by Moses Hogan.
For SATB choir and piano
accompaniment (for
rehearsal only) (SATB).
Hal Leonard Choral
Collection. Choral and
Gospel. Songbook. Vocal
score notation. 240
pages. Published by Hal
Leonard
Sing You Home Chorale SATB - Intermédiaire Beckenhorst Press
SATB chorus with Accompaniment Track - intermediate SKU: BP.BP128 Compose...(+)
SATB chorus with
Accompaniment Track -
intermediate
SKU:
BP.BP128
Composed by
Mark Murphy and Maureen
Ennis. Arranged by Dan
Forrest, Jamie Hillman,
and Mark Murphy. Memorial
/ Funeral; Secular.
Concert Series. School,
Church, Community
Adult,Community Children,
Collegiate. Octavo.
Beckenhorst Press #BP128.
Published by Beckenhorst
Press (BP.BP128).
UPC:
748769001288. 6.875 x
10.5 inches.
This
original song by Canadian
songwriters Mark Murphy
and Maureen Ennis,
originally written for
vocal trio and heard in
various memorial
occasions, has now been
arranged by Dan Forrest,
Jamie Hillman, and the
composer for SATB choir
as part of the
Beckenhorst Concert
Series. Highly effective
for both high school
choirs and community
choirs, the gentle
songwriter feel of the
original is supported by
a simple piano
accompaniment and
well-crafted choral
lines. The result is a
deeply-felt expression of
grief and comfort: I'll
sing for you because I
need to, right now this
is all I know; I'll sing
so we will not forget
you, I will sing you home
- I will sing you home.
(Accompaniment Track
includes one bar of piano
introduction to set tempo
and pitch, and piano
plays during a cappella
sections and long note
values to keep tempo
clear.).
By Thomas A. Dorsey (1899-1993) and Mark Hayes. For SATB choir and piano (with o...(+)
By Thomas A. Dorsey
(1899-1993) and Mark
Hayes. For SATB choir and
piano (with optional
Rhythm). Rhythm and piano
CD accompaniment.
Published by Lorenz
Publishing Company
ISBN 9790006419555. 33
x 26.5 cm inches. Text
Language: French, German.
Preface: Ludwig Finscher.
Text: Pierre-Louis
Moline.
Christoph
Willibald Gluck’s
most popular opera
“Orphe et
Euridice†was
performed in 1774 in
Paris to sensational
success. This new
adaption followed the
original Viennese version
with Italian text that
was first performed in
1762 under the direction
of the composer in the
Burgtheater. For the
Paris version Gluck
changed the leading part
Orpheus from an alto to a
tenor role and composed
new recitatives.
Both versions of
Gluck’s reform
drama are based on a
libretto by Ranieri
de’ Calzabigi and
revolutionised
metastasian opera of the
18th century. Solo and
choral music,
instrumental music,
pantomime and dance are
all closely connected;
the myth replaces a
historical plot
surrounded by intrigue;
where there would have
been a da-capo aria there
are now simple song forms
and coloratura is largely
abandoned. These
meticulously revised
vocal scores of both
versions are also newly
set.
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
Choir Secular (SATB choir) SKU: AP.48984 The Big Bang Theory * Everywh...(+)
Choir Secular (SATB
choir)
SKU:
AP.48984
The Big
Bang Theory * Everywhere
You Look * I'll Be There
For You. Arranged by
Jack Zaino. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Pop;
Secular; TV. Choral
Octavo. 24 pages. Alfred
Music #00-48984.
Published by Alfred Music
(AP.48984).
UPC:
038081563084.
English.
This
binge-worthy mini-medley
is three minutes and
twenty seconds of
fantastic fun! No need to
reach for the remote, the
fast-paced rock-out
feature flies through
three of the most iconic
TV themes . . . ever.
Thanks to streaming
services, the shows you
loved in the 80s, 90s,
and 2000s are once again
at the top of everyone's
watchlist. Appealing to
all ages. It's as catchy
as the catchphrases How
you doin'? You got it,
dude! and Bazinga! This
title is available in
MakeMusic Cloud.
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Composed
by Johann Pachelbel.
Edited by Thomas
Röder. This edition:
Edition of selected
works, Urtext edition.
Linen. Johann Pachelbel.
Complete Vocal Works,
Volume 7. Edition of
selected works, Score,
anthology. Baerenreiter
Verlag #BA10557_00.
Published by Baerenreiter
Verlag (BA.BA10557).
ISBN 9790006553068. 33
x 25.8 cm inches.
Language:
German.
The
Complete Vocal Works
Johann Pachelbel is known
today as a composer of
organ music and of a
world-famous instrumental
canon which frequently
features in concert
programmes and recording
catalogues. However, the
same can be said of only
a few of his vocal
compositions. At most,
the motets appear
occasionally in church
music repertoire.
Pachelbelâ??s arias,
vocal concerti and
large-scale Magnificats
have received little
attention up to now.
Church musicians and
musicologists have long
wished for a critical
edition of these
important works, which
survive in Pachelbelâ??s
manuscript and were
largely composed in his
main places of work,
Erfurt and Nuremberg . As
always with such
ventures, new discoveries
are to be expected
regarding the body of
works, source material
and the context of the
works. This concerns not
only beautiful music, but
rather a deepening of our
understanding of
Pachelbel as a key figure
between southern and
central German
traditions, and the
recognition of an oeuvre
which has all too often
been pushed into the
shadows by the mighty
Bach.
The
Critical Edition
The edition aims to make
available all of Johann
Pachelbelâ??s surviving
vocal works in the best
possible form. It is
edited by the Institut
für Musikwissenschaft
at the University of
Erlangen-Nuremberg and
the Institut für
Kirchenmusik at the
Kunstuniversität
Graz.
Two
volumes per year are
planned.
As a
chronological order is
not possible in many
cases, the individual
works have been arranged
according to scoring
within their groups.
Fragments and works where
Johann Pachelbelâ??s
authorship is doubtful
appear at the end of the
respective group.
Each volume includes
an introduction (Ger/Eng)
and a Critical Commentary
(Ger). Format 25.5 x 32.5
cm; cloth-bound
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
Composed
by Balthasar Resinarius.
Edited by Inge-Maria
Schröder. This
edition: complete
edition, urtext edition.
Half-cloth binding. Georg
Rhau. Musikdrucke aus den
Jahren 1538-1545, 1.
Sacred. Complete edition,
Singing Score.
Baerenreiter Verlag
#BA03131_00. Published by
Baerenreiter Verlag
(BA.BA03131).
ISBN
9790006429875. 27.7 x
19.7 cm inches.
De
Christo, et regno eius,
Doctrina, Vita, Passione,
Resurrrectione et
Ascensione. 42 meist
vierstimmige Motetten.
Urtext der
Rhau-Ausgabe.
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
Composed by Michael and Angela Souders. Choir Secular. SATB choir. Choral Octavo...(+)
Composed by Michael and
Angela Souders. Choir
Secular. SATB choir.
Choral Octavo. Choral
Designs. Graduation;
Patriotic; Secular. 8
pages. Published by
Alfred Music
Cantata for the 1st
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Liebster Jesu, mein
Verlangen. Sacred vocal
music, Cantatas,
Epiphany. Choral Score.
Composed 1726. BWV 32. 2
pages. Duration 24
minutes. Carus Verlag #CV
31.032/05. Published by
Carus Verlag
(CA.3103205).
ISBN
9790007042493. Key: E
minor / g major.
Language: German/English.
Text: Lehms, Georg
Christian. Text: Georg
Christian
Lehms.
The text of
the cantata Dearest
Jesus, sore I need Thee
for the 1st Epiphany
Sunday 1726 was written
by the Darmstadt poet
Georg Christian Lehms. It
is conceived as a dialog
between Jesus and the
Faithful Soul. Bach
titled his cantata
Concerto in Dialogo and
accordingly, it is
structured as a dialog
between soprano and bass,
set in the voice types
that were - not only for
Bach - typically used for
the soul (soprano) and
Jesus (bass). The cantata
is based on the narrative
of the twelve-year-old
boy Jesus in the temple;
however, in spite of
closely following the
gospel text, it is
interpreted more widely
here: it is through Jesus
that the believer finds
God's dwelling. Bach
creates a great arch from
the opening aria full of
yearning and searching
through to the joyful
duet Nun verschwinden
alle Plagen. He himself
added the four-part
closing chorale to the
text model, thus
communicating the sense
of joyous certainty to
the congregation of
believers. Score
available separately -
see item CA.3103200.
Cantata for the 1st
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Liebster Jesu. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Violin 2. Composed 1726.
BWV 32. 4 pages. Duration
24 minutes. Carus Verlag
#CV 31.032/12. Published
by Carus Verlag
(CA.3103212).
ISBN
9790007042516. Key: E
minor / g major.
Language: German/English.
Text: Lehms, Georg
Christian. Text: Georg
Christian
Lehms.
The text of
the cantata Dearest
Jesus, sore I need Thee
for the 1st Epiphany
Sunday 1726 was written
by the Darmstadt poet
Georg Christian Lehms. It
is conceived as a dialog
between Jesus and the
Faithful Soul. Bach
titled his cantata
Concerto in Dialogo and
accordingly, it is
structured as a dialog
between soprano and bass,
set in the voice types
that were - not only for
Bach - typically used for
the soul (soprano) and
Jesus (bass). The cantata
is based on the narrative
of the twelve-year-old
boy Jesus in the temple;
however, in spite of
closely following the
gospel text, it is
interpreted more widely
here: it is through Jesus
that the believer finds
God's dwelling. Bach
creates a great arch from
the opening aria full of
yearning and searching
through to the joyful
duet Nun verschwinden
alle Plagen. He himself
added the four-part
closing chorale to the
text model, thus
communicating the sense
of joyous certainty to
the congregation of
believers. Score and part
available separately -
see item CA.3103200.
Cantata for the 1st
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Liebster Jesu. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Viola. Composed 1726. BWV
32. 4 pages. Duration 24
minutes. Carus Verlag #CV
31.032/13. Published by
Carus Verlag
(CA.3103213).
ISBN
9790007042523. Key: E
minor / g major.
Language: German/English.
Text: Lehms, Georg
Christian. Text: Georg
Christian
Lehms.
The text of
the cantata Dearest
Jesus, sore I need Thee
for the 1st Epiphany
Sunday 1726 was written
by the Darmstadt poet
Georg Christian Lehms. It
is conceived as a dialog
between Jesus and the
Faithful Soul. Bach
titled his cantata
Concerto in Dialogo and
accordingly, it is
structured as a dialog
between soprano and bass,
set in the voice types
that were - not only for
Bach - typically used for
the soul (soprano) and
Jesus (bass). The cantata
is based on the narrative
of the twelve-year-old
boy Jesus in the temple;
however, in spite of
closely following the
gospel text, it is
interpreted more widely
here: it is through Jesus
that the believer finds
God's dwelling. Bach
creates a great arch from
the opening aria full of
yearning and searching
through to the joyful
duet Nun verschwinden
alle Plagen. He himself
added the four-part
closing chorale to the
text model, thus
communicating the sense
of joyous certainty to
the congregation of
believers. Score and part
available separately -
see item CA.3103200.
Choir Secular (SATB choir) SKU: AP.51088 Composed by Mark Burrows. Perfor...(+)
Choir Secular (SATB
choir)
SKU:
AP.51088
Composed by
Mark Burrows. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs.
Peace/Brotherhood;
Secular. Choral Octavo.
16 pages. Alfred Music
#00-51088. Published by
Alfred Music (AP.51088).
UPC: 038081581255.
English.
In the
light I have found my
family, I am safe to sing
my song. With a lightly
syncopated, contemporary
sound, this uplifting
original expresses the
need for a warm and
welcoming community for
all. Composer Mark
Burrows reminds us that
we can help others feel
comfort and belonging
simply by sharing our
inner light. Perform with
piano alone or with the
addition of an optional
djembe. Rich with
opportunities for
social-emotional
learning.
About Alfred
Choral
Designs
Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests.