Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (CF.CM9625).

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019838

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1826. 44 pages. Schott Music #ED 21638. Published by Schott Music (HL.49019838).

ISBN 9790001193481. UPC: 841886021044. 9.0x12.0x0.212 inches. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019867

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-01. Published by Schott Music (HL.49019867).

ISBN 9790001193702. UPC: 841886021013. 9.0x12.0x0.051 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019868

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-02. Published by Schott Music (HL.49019868).

ISBN 9790001193719. UPC: 841886021020. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019839

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED 21638-01. Published by Schott Music (HL.49019839).

ISBN 9790001193498. UPC: 841886021051. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019841

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED 21638-03. Published by Schott Music (HL.49019841).

ISBN 9790001193511. UPC: 841886021075. 9.0x12.0x0.04 inches. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019869

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-03. Published by Schott Music (HL.49019869).

ISBN 9790001193726. UPC: 841886021037. 9.0x12.0x0.049 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019840

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED 21638-02. Published by Schott Music (HL.49019840).

ISBN 9790001193504. UPC: 841886021068. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexandra Wigners. Breitkopf and Haertel #EB 8887. Published by Breitkopf and Haertel

Chamber Music Cello, Piano

SKU: CF.B3473

Composed by Ernest Bloch. Edited by Julian Schwarz. Set of Score and Parts. 12+4 pages. Carl Fischer Music #B3473. Published by Carl Fischer Music (CF.B3473).

ISBN 9781491161999. UPC: 680160920679. Key: C major.

Composed in 1924, Ernest Bloch’s Méditation Hébraϊque is a plaintive and reverent musical reflection that flows through many emotions in a series of uninterrupted movements: Moderato, Allegro deciso, and Moderato. Passionate rubato phrases are flecked with light touches of ornamentation, much like the inflections of a cantor's voice. Hemiola rhythms, dynamic swells, and contrapuntal interaction with the piano lead the soulful voice of the cello to its upper range in a dramatic dialogue that eventually descends to a more subdued and stately resolution. Cellist and teacher Julian Schwarz provides practical fingerings and phrase markings to achieve the alternating bright and warm tone that are essential to adequately express the sacred beauty  of the music. .

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.49046442

Cello and Piano. Composed by Richard Strauss. String Solo. Classical. Softcover. 80 pages. Duration 1560 seconds. Schott Music #CB301. Published by Schott Music (HL.49046442).

ISBN 9781540094780. UPC: 842819113003.

The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.