| DONIZETTI Soprano Arias with Orchestra Voix Soprano [Livre + CD] Music Minus One
For Vocal Soprano. Classical (Opera with Orchestra). Includes a printed vocal sc...(+)
For Vocal Soprano.
Classical (Opera with
Orchestra). Includes a
printed vocal score on
high-quality ivory paper,
with informative liner
notes; and a compact disc
with complete versions
(with soloist) followed
by stereo orchestral
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Into Your Hands I Surrender My Soul: In manus tuas Chorale SATB SATB A Cappella [Octavo] MorningStar Music Publishers
Composed by Michael John Trotta. Presbyterian Association of Musicians Series. H...(+)
Composed by Michael John
Trotta. Presbyterian
Association of Musicians
Series. Holy Week/Three
Days, Lent, Tenebrae,
21st Century. Octavo.
Published by MorningStar
Music Publishers
(MN.50-3979).
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Little Klezmer Suite Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-503-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 3.5 SKU:
BT.AMP-503-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2021. 40 pages.
Anglo Music Press #AMP
503-140. Published by
Anglo Music Press
(BT.AMP-503-140).
English-German-French-
Dutch. A Little
Klezmer Suite was
commissioned by Rushton
Park High School to
celebrate the 50th
anniversary of their band
programme. They gave the
premiere in a virtual
online concert in October
2020. Klezmer music
originated inthe
‘shtetl’
(villages) and the
ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as
‘klezmorim’,
had performed at
celebrations,
particularly weddings,
since the early Middle
Ages. 'Klezmer' is a
Yiddish termcombining the
Hebrew words
‘kley’
(instrument) and
‘zemer’
(song). The roots of the
style are found in
secular melodies, popular
dances, Jewish
‘hazanut’
(cantorial music) and
also the
‘nigunim’,
the wordless melodies
intoned bythe
‘Hasidim’
(orthodox Jews). The
melodies used in the four
movements of A Little
Klezmer Suite have
traditionally been used
in Jewish wedding
ceremonies and
celebrations.
A
Little Klezmer Suite
werd geschreven in
opdracht van de Rushton
Park High School ter
gelegenheid van het
vijftigjarig bestaan van
het blaasorkest van de
school. De première
vond in oktober 2020
plaats tijdens een
virtueelonlineconcert.
Klezmermuziek is ontstaan
in de 'sjtetls' (dorpen)
en getto’s van
Oost-Europa, waar
rondreizende Joodse
troubadours, de zogeheten
klezmorim, sinds de
vroege middeleeuwen
optraden bij feesten, met
name bruiloften.Klezmer
is een Jiddische term
waarin de Hebreeuwse
woorden 'kley'
(instrument) en 'zemer'
(lied) zijn gecombineerd.
De oorsprong van de stijl
is te vinden in
wereldlijke melodieën,
populaire dansen, de
chazanoet muziek uit
desynagoge met een
voorzanger en de nigunim,
de tekstloze melodieën
die worden gezongen door
de orthodoxe chassidische
joden. De melodieën
die in de vier delen van
A Little Klezmer
Suite zijn gebruikt,
werden vanoorsprong ten
gehore gebracht op Joodse
bruiloftsplechtigheden en
huwelijksfeesten.
A Little Klezmer
Suite wurde von der
Rushton Park High School
in Auftrag gegeben, um
den 50. Geburtstag ihres
Blasorchesters zu feiern.
Die Uraufführung fand
im Rahmen eines
virtuellen
Online-Konzerts im
Oktober 2020 statt.Die
Klezmer-Musik entstand in
den sogenannten
Schtetl“
(Dörfern) und in den
osteuropäischen
Ghettos, in denen
fahrende jüdische
Troubadoure, bekannt als
Klezmorim“, seit
dem frühen Mittelalter
bei Festen, insbesondere
beiHochzeiten,
aufgetreten sind.
Klezmer“ ist ein
jiddischer Begriff, der
die hebräischen
Wörter kley“
(Instrument) und
zemer“ (Lied)
miteinander kombiniert.
Der Ursprung des Stils
liegt in weltlichen
Melodien,
Volkstänzen,jüdisch
er Hazanut“
(Kantorenmusik) und in
den Nigunim“
Melodien ohne Text, die
von den Chassidim
(orthodoxen Juden)
intoniert wurden. Die
Melodien, die in den vier
Sätzen von A Little
Klezmer Suite
vorkommen,
wurdentraditionell bei
jüdischen
Hochzeitszeremonien und
Feiern
gespielt.
A
Little Klezmer Suite
est une commande de
Rushton Park High School,
en Angleterre, pour
marquer le
cinquantième
anniversaire du programme
de son harmonie. La
pièce a été
créée lors
d’un concert
virtuel en ligne en
octobre2020. La musique
klezmer est née dans
les ‘shtetl’
(villages) et les ghettos
d’Europe de
l’Est, où les
troubadours juifs
itinérants, connus
sous le nom de
‘klezmorim’,
se produisaient lors de
célébrations, en
particulier lesmariages,
depuis le début du
Moyen ge. « Klezmer
» est un terme yiddish
qui combine les mots
hébreux
‘kley’
(instrument) et
‘zemer’
(chanson). Les racines de
ce style se trouvent dans
les mélodies profanes,
les danses populaires,le
‘hazanut’
juif (musique liturgique)
ainsi que les
‘nigunim’,
mélodies sans paroles
entonnées par les
‘Hasidim’
(Juifs orthodoxes). Les
mélodies
traditionnelles
employées dans les
quatre mouvements de A
Little KlezmerSuite
ont toujours été
populaires lors des
cérémonies de
mariage et autres
fêtes juives. $35.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Little Klezmer Suite Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-503-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 3.5 SKU:
BT.AMP-503-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score and
Parts). Composed 2021.
Anglo Music Press #AMP
503-010. Published by
Anglo Music Press
(BT.AMP-503-010).
English-German-French-
Dutch. A Little
Klezmer Suite was
commissioned by Rushton
Park High School to
celebrate the 50th
anniversary of their band
programme. They gave the
premiere in a virtual
online concert in October
2020. Klezmer music
originated inthe
ââ¬Ështetlâ
¬â¢ (villages)
and the ghettos of
Eastern Europe, where
itinerant Jewish
troubadours, known as
ââ¬ËklezmorimÃ
¢â¬â¢, had
performed at
celebrations,
particularly weddings,
since the early Middle
Ages. 'Klezmer' is a
Yiddish termcombining the
Hebrew words
ââ¬Ëkleyââ
¬â¢ (instrument)
and
ââ¬Ëzemerââ
¬â¢ (song). The
roots of the style are
found in secular
melodies, popular dances,
Jewish
ââ¬Ëhazanutâ
â¬â¢ (cantorial
music) and also the
ââ¬Ënigunimâ
â¬â¢, the
wordless melodies intoned
bythe
ââ¬ËHasidimâ
â¬â¢ (orthodox
Jews). The melodies used
in the four movements of
A Little Klezmer
Suite have
traditionally been used
in Jewish wedding
ceremonies and
celebrations.
A
Little Klezmer Suite
werd geschreven in
opdracht van de Rushton
Park High School ter
gelegenheid van het
vijftigjarig bestaan van
het blaasorkest van de
school. De
première vond in
oktober 2020 plaats
tijdens een
virtueelonlineconcert.
Klezmermuziek is ontstaan
in de 'sjtetls' (dorpen)
en gettoââ¬â¢s
van Oost-Europa, waar
rondreizende Joodse
troubadours, de zogeheten
klezmorim, sinds de
vroege middeleeuwen
optraden bij feesten, met
name bruiloften.Klezmer
is een Jiddische term
waarin de Hebreeuwse
woorden 'kley'
(instrument) en 'zemer'
(lied) zijn gecombineerd.
De oorsprong van de stijl
is te vinden in
wereldlijke
melodieën,
populaire dansen, de
chazanoet muziek uit
desynagoge met een
voorzanger en de nigunim,
de tekstloze
melodieën die
worden gezongen door de
orthodoxe chassidische
joden. De
melodieën die in
de vier delen van A
Little Klezmer Suite
zijn gebruikt, werden
vanoorsprong ten gehore
gebracht op Joodse
bruiloftsplechtigheden en
huwelijksfeesten.
A Little Klezmer
Suite wurde von der
Rushton Park High School
in Auftrag gegeben, um
den 50. Geburtstag ihres
Blasorchesters zu feiern.
Die Uraufführung
fand im Rahmen eines
virtuellen
Online-Konzerts im
Oktober 2020 statt.Die
Klezmer-Musik entstand in
den sogenannten
Schtetlââ¬Å
(Dörfern) und in
den
osteuropäischen
Ghettos, in denen
fahrende jüdische
Troubadoure, bekannt als
Klezmorimââ¬Å,
seit dem frühen
Mittelalter bei Festen,
insbesondere
beiHochzeiten,
aufgetreten sind.
Klezmerââ¬Å ist
ein jiddischer Begriff,
der die
hebräischen
Wörter
kleyââ¬Å
(Instrument) und
zemerââ¬Å
(Lied) miteinander
kombiniert. Der Ursprung
des Stils liegt in
weltlichen Melodien,
Volkstänzen,jÃ
¼discher
Hazanutââ¬Å
(Kantorenmusik) und in
den Nigunimââ¬Å
Melodien ohne Text, die
von den Chassidim
(orthodoxen Juden)
intoniert wurden. Die
Melodien, die in den vier
Sätzen von A
Little Klezmer Suite
vorkommen,
wurdentraditionell bei
jüdischen
Hochzeitszeremonien und
Feiern
gespielt.
A
Little Klezmer Suite
est une commande de
Rushton Park High School,
en Angleterre, pour
marquer le
cinquantième
anniversaire du programme
de son harmonie. La
pièce a
été
créée lors
dââ¬â¢un
concert virtuel en ligne
en octobre2020. La
musique klezmer est
née dans les
ââ¬Ështetlâ
¬â¢ (villages) et
les ghettos
dââ¬â¢Europe
de lââ¬â¢Est,
où les troubadours
juifs itinérants,
connus sous le nom de
ââ¬ËklezmorimÃ
¢â¬â¢, se
produisaient lors de
célébration
s, en particulier
lesmariages, depuis le
début du Moyen ge.
ë Klezmer û
est un terme yiddish qui
combine les mots
hébreux
ââ¬Ëkleyââ
¬â¢ (instrument) et
ââ¬Ëzemerââ
¬â¢ (chanson). Les
racines de ce style se
trouvent dans les
mélodies profanes,
les danses populaires,le
ââ¬Ëhazanutâ
â¬â¢ juif
(musique liturgique)
ainsi que les
ââ¬Ënigunimâ
â¬â¢,
mélodies sans
paroles entonnées
par les
ââ¬ËHasidimâ
â¬â¢ (Juifs
orthodoxes). Les
mélodies
traditionnelles
employées dans les
quatre mouvements de A
Little KlezmerSuite
ont toujours
été
populaires lors des
cérémonies
de mariage et autres
fêtes juives. $181.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Learn From A Pro - Trumpet Trompette [Partition + CD] - Débutant Santorella Publications
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Chris Tedesco
will walk you through all
23 lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Trumpet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Chris
Tedesco Chris Tedesco has
distinguished himself as
a soloist, chamber
artist, orchestral and
commercial trumpeter in
Los Angeles for over 20
years. His early
classical training
included studies with
Chuck Lirette of the
Buffalo Philharmonic and
college training with
Gilbert Johnson, (former
principal trumpet of the
Philadelphia
Philharmonic) at the
University of Miami in
Florida. Chris Tedesco's
road travels included
concert tours with the
Glenn Miller Band, Tommy
Dorsey Orchestra, but it
was Cruise Ships that
brought him to Los
Angeles in 1987. Chris
Tedesco can be heard on
the movie soundtracks of
Finding Nemo, Road to
Perdition, Boat Trip, The
Mexican, Best in Show,
Ring of Fire, After the
Storm, Durango Kids,
Winchell, Absolute Power,
Star Trek - First
Contact, Nixon,
Stonebrook, Heaven and
Earth, Cool World and
Lorenzoes Oil. On the
small screen you can hear
his solo Trumpet on the
theme to the hit TV show
"The District" along with
many national TV
commercials. Chris
Tedesco has recorded with
Joe Cocker, Natalie
Merchant, Ellis Hall,
Royal Crown Revue, Pat
Boone, Cher, Brian
Setzer, Dwight Yoakum,
Juan Carlos Quintero,
Thom Rotella, Jump with
Joey, Leslie Paula, Boom
Shaka and for The Disney
Afternoon. For more
information about Chris
Tedesco visit:
www.christedesco.com.
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Soprano Aria Album (Version 2.0)
Voix Soprano [CD Sheet Music] Subito Music
For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 1300 pages. Pu...(+)
For Vocal. (Voice). CD
Sheet Music (Version
2.0). PDF file on CD.
1300 pages. Published by
Subito Music.
(4)$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Ultimate Tenor Aria Album (Version 2.0)
Voix Tenor [CD Sheet Music] Subito Music
For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 800 pages. Pub...(+)
For Vocal. (Voice). CD
Sheet Music (Version
2.0). PDF file on CD. 800
pages. Published by
Subito Music.
(3)$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| A Little Klezmer Suite Orchestre d'harmonie Anglo Music
Concert Band (SCORE PARTS) - Level 3.5 SKU: HL.4007191 Composed by Philip...(+)
Concert Band (SCORE
PARTS) - Level 3.5
SKU: HL.4007191
Composed by Philip
Sparke. Anglo Music
Concert Band. Concert.
Softcover. Duration 435
seconds. Anglo Music
Press #032939. Published
by Anglo Music Press
(HL.4007191). UPC:
840126966428. A
Little Klezmer Suite was
commissioned by Rushton
Park High School to
celebrate the 50th
anniversary of their band
program. They gave the
premiere in a virtual
online concert in October
2020. Klezmer music
originated in the
'shtetl' (villages) and
the ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as 'klezmorim', had
performed at
celebrations,
particularly weddings,
since the early Middle
Ages. 'Klezmer' is a
Yiddish term combining
the Hebrew words 'kley'
(instrument) and 'zemer'
(song). The roots of the
style are found in
secular melodies, popular
dances, Jewish 'hazanut'
(cantorial music) and
also the 'nigunim', the
wordless melodies intoned
by the 'Hasidim'
(orthodox Jews). The
melodies used in the four
movements of A Little
Klezmer Suite have
traditionally been used
in Jewish wedding
ceremonies and
celebrations. $160.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zog, Maran (Tell Me, Marrano) (From Mark Zuckerman Yiddish Choral Series) Chorale SATB SATB A Cappella Schirmer
Arranged by Mark Zuckerman. Text: Avrom Reisen. For SATB Choir unaccompanied. (...(+)
Arranged by Mark
Zuckerman. Text: Avrom
Reisen. For SATB Choir
unaccompanied. (Mixed
Voices). Secular. Choral.
Published by E.C.
Schirmer Publishing.
$1.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In splendoribus sanctorum Chorale SATB SATB A Cappella CanticaNOVA Publications
Composed by David Gleba. Text: Missale Romanum. A setting of the actual Communio...(+)
Composed by David Gleba.
Text: Missale Romanum. A
setting of the actual
Communion Antiphon for
Midnight Mass. Christmas.
Octavo. Published by
CanticaNOVA Publications
(C5.5007).
$1.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Arias for a Female Voice (30) Voix Soprano, Piano Peters
By George Frideric Handel. Edited by Roth. For female voice, piano. Arias from O...(+)
By George Frideric
Handel. Edited by Roth.
For female voice, piano.
Arias from Oratorios and
Operas,in original
language(20 It.,10
Eng-Ger),for
Soprano(15),Alto(7),Contr
alto(8). Published by
C.F. Peters.
$44.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spiritual Medley Chorale 3 parties SAB, Piano [Octavo] Faber Music Limited
Arranged by Ben Parry. Choir Sacred. For with Piano (SAB). Choral Octavo. Faber ...(+)
Arranged by Ben Parry.
Choir Sacred. For with
Piano (SAB). Choral
Octavo. Faber Choral
Singles. Sacred;
Spiritual. Published by
Faber Music
$1.99 $1.8905 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| ARKA - 3 Rituale (Full Score) Voix basse, Piano Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo
pipa, timpani 4 Pauken, 1
Spieler, percussion,
(Crotali, Glockenspiel,
gr, Trommel,
vibraphonerafon - 1
Spieler), strings (7, 1)
SKU: PE.EP14445
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445). ISBN
9790014135041. 297 x 420
mm inches.
German. ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss. Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte). Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung! Bernd
Franke. Leipzig,
11.10.2019 W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano. - 14
songs for solo
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006 AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything: Every
flame, every fire, every
light, every warmth is
AGNI. AGNI is
omnipresent, establishing
everything and ending
everything. AGNI is
often depicted with seven
tongues which represent
different aspects of his
being. These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming. Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet. This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies. The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer. W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work. Score and
horn
part. - Contempo
rary work for Horn in F
and
piano
- Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010. Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music. - Contemp
orary piece for solo
cello
- Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006 to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006 Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual. This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788 A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'. - Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
- Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
- The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano. - 14
songs for solo high
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of sacred and
secular Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298 for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony. W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind. I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation. The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world. The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello. The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020. Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| OperAria: Bariton Volume 3: dramatisch Breitkopf & Härtel
Repertoire Collection. Edited by Peter Anton Ling. OperAria. Collection (...(+)
Repertoire
Collection. Edited by
Peter Anton Ling.
OperAria. Collection
(softbound). 160 pages.
Published by Breitkopf
and Haertel (BR.EB-8879).
$43.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Caminemos con Jesús GIA Publications
SKU: GI.G-1064 Composed by Tony Alonso S.J. Sacred. GIA Publications #106...(+)
SKU: GI.G-1064
Composed by Tony Alonso
S.J. Sacred. GIA
Publications #1064.
Published by GIA
Publications (GI.G-1064).
UPC:
785147006428. From
the music of the Buena
Vista Social Club to
Gloria Estefan, the
lyrical melodies and
infectious rhythms of
Cuban music have become
embedded in U.S. culture.
With Caminemos con
Jesús / Let Us Walk
with Jesus, composer Tony
Alonso presents a
groundbreaking collection
of liturgical music that
calls on his own Cuban
musical heritage to
provide new ways of
singing the liturgy in
Spanish, English or
bilingually. The first
project of its kind,
Caminemos con Jesús
not only utilizes rich
Cuban idioms but also
explores what style and
musical form can teach us
about praying together
across cultural and
linguistic boundaries.
The dynamic
call-and-response form
that is a hallmark of
traditional Cuban music
makes these songs
especially compelling
choices for bilingual
worship, allowing
assemblies to learn,
internalize, and pray
easily in both Spanish
and English.
“Qué AlegrÃa
Cuando Me Dijeron / I
Rejoiced When I Heard
Them Say†uses the
words of the psalm as a
rhythmic mantra, creating
a fresh and engaging way
to gather as the Body of
Christ. “LetanÃa
a la Madre de las
Américas / Litany of
Mary of The
Americas,†invokes
the Mary of many names
and nations with a simple
yet strong response that
will enliven Marian
feasts throughout the
year. The gentle
simplicity of “Tres
Guajiros / Three
Peasantsâ€
re-imagines the story of
the Magi as humble
peasants bringing gifts
of the land to honor the
newborn Jesus. Also, in
this collection and for
the first time in
published form, is Gloria
Estefan’s
“Caridad,†a
powerful and poetic
prayer to Our Lady of
Charity, the patroness of
Cuba. All of the pieces
of this collection focus
on the importance of
bringing the voices of
the assembly to the
forefront while the
arrangements are
skillfully crafted to be
accessible to musicians
of all abilities. In
addition to the
spiral-bound edition,
individual octavos, and
flute and brass parts,
Caminemos con Jesús
offers a special edition
featuring parts for
guitar, percussion and
other instruments central
to Cuban music. The
studio recording is a
stunning source of prayer
and inspiration, produced
in Miami by Grammy Award
winner Juan Delgado and
featuring some of the
finest Cuban-American
musicians today. GIA
Publications, Inc. is
committed to responding
to the rich diversity of
the contemporary Church.
With Caminemos con
Jesús, we offer you
our very best bilingual
music for the liturgical
year. “The
music of my
father’s Cuban
homeland has been the
language of my heart for
as long as I can
remember. These songs
infuse that rich
tradition with the unique
sabor of my own
experience as a
Cuban-American in a
distinctly liturgical
shape that I hope will
inspire others in their
daily camino con
Jesús.â€
–Tony Alonso
Featuring “Live
Mercy, Be Holy / Vive la
Misericordia, Vive la
Santidad,†the 2020
Los Angeles Religious
Education Congress theme
song! Desde la música
de Buena Vista Social
Club hasta la de Gloria
Estefan, las melodÃas
lÃricas y ritmos
contagiosos de la
música cubana son
incrustados en la cultura
estadounidense. Con
Caminemos con Jesús /
Let Us Walk with Jesus,
el compositor Tony Alonso
presenta una colección
innovadora de música
litúrgica que
incorpora su herencia
musical cubana para
producir una manera nueva
de cantar la liturgia
— en español,
inglés o
bilingüemente. El
primer proyecto de este
tipo, Caminemos con
Jesús no sólo
utiliza modismos ricos de
Cuba sino también
explora lo que el estilo
y la forma musical nos
pueden enseñar con
respeto a rezar juntos a
través de los
lÃmites culturales y
lingüÃsticos.Â
La forma dinámica de
llamada-y-respuesta que
es un sello distintivo de
la música cubana
tradicional crea opciones
cautivadoras para los
rituales bilingües
donde la asamblea puede
aprender, interiorizar y
rezar facilmente tanto en
español como en
inglés. “Qué
AlegrÃa Cuando Me
Dijeron†incorpora
la letra del salmo como
una mantra rÃtmica,
creando una manera
original para congregar
al Cuerpo de Cristo. La
“LetanÃa a la
Madre de las
Américas,†la
cual invoca a la MarÃa
de muchos nombres y
naciones utilizando una
respuesta sencilla y
fuerte, enriquecerá a
las fiestas marianas de
muchos pueblos durante
todo el año. La
sencillez suave de
“Tres
Guajiros†reimagina
la historia de los Reyes
Magos como guajiros
humildes, trayendo
regalos de la tierra para
honrar al recién
nacido Jesús.
También se encuentra
en esta colección, por
la primera vez en forma
publicada, el tema
musical
“Caridad†por
Gloria Estefan, que es
una oración poderosa y
poética a Nuestra
Madre de Caridad, la
patrona de Cuba. Todas
las piezas en esta
colección se enfocan
en la importancia de las
voces de la asamblea
mientras los arreglos son
accesibles para los
músicos de todas
habilidades. Además de
la edición con
espiral, las partituras
corales individuales, y
las ediciones para flauta
y instrumentos de metal,
Caminemos con Jesús
también ofrece una
edición para guitarra
con partituras
adicionales para
percusión y otros
instrumentos centrales en
la música cubana. La
grabación del estudio
es espectacular, una
fuente de oración y
inspiración. Producido
en Miami por el ganador
de Grammy Juan Delgado,
el álbum destaca los
talentos de unos de los
mejores músicos
cubano-americanos de hoy
dÃa. GIA
Publications, Inc.
está comprometido a
responder a la diversidad
rica de la Iglesia
actual. En Caminemos con
Jesús, les ofrecemos
nuestra mejor música
bilingüe para todo el
año litúrgico.
“La música de la
tierra cubana de mi padre
ha sido el lenguaje de mi
corazón desde que yo
tengo memoria. Estas
canciones infunden esa
rica tradición del
sabor único de mi
propia experiencia como
cubanoamericano con una
forma claramente
litúrgica. Es mi deseo
que esta obra inspire a
los demás en su propio
camino diario con
Jesúsâ€.
–Tony AlonsoÂ
Incluye el canto tema,
“Vive la
Misericordia, Vive la
Santidad / Live Mercy, Be
Holy,†compuesto
para el Congreso de
Educación Religiosa de
Los Angeles del 2020.
CONTENTS / CONTENIDO:
Arriba los Corazones / We
Lift Up Our Hearts
• Caminemos con
Jesús / Let Us Walk
with Jesus •
Cántico de Daniel /
Canticle of Daniel
• Caridad / Our
Lady of Charity •
LetanÃa del Santo
Nombre de Jesús /
Litany of the Holy Name
of Jesus •
LetanÃa a la Madre de
las Américas / Litany
to the Mother of the
Americas • Qué
AlegrÃa Cuando Me
Dijeron / I Rejoiced When
I Heard them Say •
Una Gran Nube de Testigos
/ A Wondrous Cloud of
Witnesses • Tres
Guajiros / Three Peasants
• Vayan Por el
Mundo Entero / Go Out to
All the World •
Vive la Misericordia,
Vive la Santidad / Live
Mercy, Be Holy. Â . $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Qua Resurget Ex Favilla Cor anglais, Piano Theodore Presser Co.
Chamber Music oboe SKU: PR.114422520 Sonata for Oboe and Piano. Co...(+)
Chamber Music oboe
SKU: PR.114422520
Sonata for Oboe and
Piano. Composed by
Katherine Needleman. Set
of Score and Parts. 24+8
pages. Duration 15:45.
Theodore Presser Company
#114-42252. Published by
Theodore Presser Company
(PR.114422520). ISBN
9781491134788. UPC:
680160683833. After
decades as a renowned
oboe virtuoso, Katherine
Needleman was improvising
at the piano during the
quarantine summer of 2020
when her ideas congealed
in a powerful way. Within
a week she completed a
16-minute oboe sonata
inspired by the
world’s
overlapping crises. This
riveting three-movement
sonata bears the title
qua resurget ex favilla,
drawn from the Dies Irae
text referring to rising
back from ashes.
Needleman won the
International Double Reed
Society’s
Inaugural Commissioning
Competition by entering
her own recording of this
work, performing as
both oboist and pianist
from her living room. As
a result, IDRS
commissioned her to
compose a new work for
English horn and piano
which was premiered at
their 2021 Virtual
Symposium and programmed
for the live 2022
convention. I’m
not exactly sure how, in
a life consumed by music,
I never put anything on
paper between the time I
stopped at age 10 and the
age of 42. I mean, I have
some ideas why, but that
could easily dissolve
into a feminist manifesto
or a condemnation of my
musical education and the
overwhelming culture of
American oboe playing,
the vehicle through which
I’ve made a living
my entire adult life.
Rather than go there, I
will just say this is the
first piece I put on
paper in my adult
life.Six months into
COVID-19 lockdown in the
US, the world was feeling
pretty weird. I had
familiarized myself with
the music notation
program, Sibelius, for
recent arranging
projects. I had written
some mockeries of A.M.R.
Barret oboe etudes in
response to an assignment
I was given (and did
appropriately first).
When I descended into a
dark chorale in the
middle of the fourth
mockery, I realized I
needed a new vehicle. I
wrote a short, ridiculous
piece for my
husband’s
birthday, and then, the
next night, when
improvising at the piano,
like I’ve done
since I was seven years
old, this piece came to
me. However, this time, I
sketched it out into
Sibelius. Over the course
of the next week, I found
notating and picking
permanent, official notes
to enter into the
computer challenging. But
it was all done on paper
in seven days, and I took
another few for dynamics
and articulations
thinking they might be
useful for someone else,
if I would ever be lucky
enough for someone else
to play it.I don’t
have much to say about
the music of qua resurget
ex favilla itself.
It’s a personal
statement couched in the
feelings of that time.
The US presidential
election was looming
large and ugly in my
mind, well, that and the
end of life as we knew
it, but I also had some
bizarre feeling that
everything would be
okay. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Diamond Concerto (euphonium Concerto No3) Euphonium/piano Part Euphonium, Piano (duo) Anglo Music
Euphonium Concerto No. 3. Composed by Philip Sparke (1951-). Anglo Instrumental ...(+)
Euphonium Concerto No. 3.
Composed by Philip Sparke
(1951-). Anglo
Instrumental series. Book
Only. Composed 2012. 32
pages. Anglo Music Press
#AMP 374-401. Published
by Anglo Music Press
$32.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dizionario Degli Accordi Per Chitarra Jazz Guitare - Intermédiaire Ricordi
Guitar - intermediate SKU: HL.50600705 Guitar. Classical. Softcover. Comp...(+)
Guitar - intermediate
SKU: HL.50600705
Guitar. Classical.
Softcover. Composed 2016.
Ricordi #HMGB19.
Published by Ricordi
(HL.50600705). GTRSO
inches. Italian. Author:
Rick
Peckham. Impara gli
accordi piu usati nel
jazz!
Questo
dizionario include oltre
cento tipi di accordi
jazz, dalle forme base di
settima con tutte le
tensioni sostitutive e le
alterazioni piu comuni,
fino agli accordi con i
toni guida e alle triadi
subasso. Il contenuto e
organizzato in modo da
evidenziare le relazioni
tra i vari tipi di
accordi e per aiutarti a
imparare i voicing in
maniera veloce, esaustiva
e facile da ricordare.
Potrai quindi migliorare
la tua tecnica di
accompagnamento equella
solistica, impadronendoti
della tastiera e
arricchendo il tuo
linguaggio armonico.
Per ciascun
accordo, nel Dizionario
troverai: * notazione
tradizionale, diagrammi e
tablature; * oltre
100forme mobili; *
varie versioni con
ilbarre e di forme di
settima con tensioni
sostitutive e
alterazioni; * triadi
su basso, rivolti e
accordi con i toni
guida; * esercizi
diatonici. $13.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gloriosi Chorale 3 parties SAB - Facile GIA Publications
SAB choir, cantor, priest, assembly, keyboard accompaniment, 2 C instruments, tr...(+)
SAB choir, cantor,
priest, assembly,
keyboard accompaniment, 2
C instruments, trumpet in
B-flat, trumpet in C,
cello, guitar - Early
intermediate SKU:
GI.G-10515 Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. Lent,
Eastertide, Holy
Thursday, Good Friday,
Easter Vigil, Easter
Sunday, Easter PM.
Sacred. With guitar chord
names. 296 pages. GIA
Publications #10515.
Published by GIA
Publications
(GI.G-10515). UPC:
785147051527. English,
Spanish. Scripture: Psalm
16, Psalm 19, Psalm 30,
Psalm 31, Psalm 42:3,
5cdef, Psalm 43:3, 4,
Psalm 103:1–2a,
5–6, 10, 12,
13–14, 24, 35c,
Psalm 103:30, Psalm 116,
Psalm 118, 1 Corinthians
10:16, Luke 23:46, Isaiah
12. The first
comprehensive resource of
its kind, Gloriosi
contains a treasure trove
of ritual music that
bridges linguistic,
cultural, and musical
differences for the
liturgies of Holy
Thursday, Good Friday,
and the Easter Vigil.
Weaving together familiar
tunes and ancient chants
with newly-composed
pieces, Tony Alonso has
meticulously crafted the
music of Gloriosi to
inspire the participation
of a diverse assembly
during these celebrations
at the heart of the
liturgical year. In
addition to settings of
all of the ritual texts
found in the Roman Missal
/ Misal Romano for the
Three Days, this
collection contains
settings of every
prescribed psalm drawn
from texts approved for
liturgical use in English
and in Spanish. El primer
recurso completo de su
tipo, Gloriosi es un
tesoro rebosante de
música ritual que
supera las diferencias
lingüÃsticas,
culturales y musicales
para las liturgias del
Jueves Santo, Viernes
Santo y la Vigilia
Pascual. Tejiendo
melodÃas familiares y
cantos antiguos con
piezas recién
compuestas, Tony Alonso
ha elaborado
meticulosamente la
música de Gloriosi
para inspirar la
participación de una
asamblea diversa durante
estas celebraciones que
están al centro del
año litúrgico.
Además de proporcionar
los textos rituales que
se encuentran en el Misal
Romano / Roman Missal
para los Tres DÃas en
forma musicalizada, esta
colección también
ofrece nueva música
para todos los salmos
prescritos para las
liturgias del Triduo
utilizando los textos
oficiales en español y
en inglés. Listen to
Music Samples on the
Gloriosi Recording Page
by Clicking HERE.
CONTENTS: Holy Thursday
Mass of the Lord’s
Supper / Jueves Santo de
la Cena del Señor: We
Should Glory in the Cross
/ Que Nuestro Único
Orgullo Sea la Cruz
• Blessed Be God
Forever / Bendito Sea
Dios por Siempre •
Kyrie, Eleison •
Our Blessing-Cup / El
Cáliz que Bendecimos
• Glory to You /
Gloria a Ti • A New
Commandment / Un
Mandamiento Nuevo •
Love One Another /
Ãmense Unos a Otros
• Lord, Hear Our
Prayer / Te Rogamos,
Óyenos • Ubi
Caritas • Agnus Dei
• Called to the
Supper of the Lamb /
Llamados al Banquete del
Señor • Called
to Keep Vigil with the
Lord / Llamados a Velar
con el Señor •
Tantum Ergo Sacramentum
Good Friday of the
Passion of the Lord /
Viernes Santo de la
Pasión del Señor:
Into Your Hands / En Tus
Manos • Glory to
You / Gloria a Ti •
Adoramus Te • The
Solemn Intercessions of
Good Friday / La
Oración Universal del
Viernes Santo •
Behold the Wood of the
Cross / Miren el Ãrbol
de la Cruz •
Faithful Cross / Cruz
Fiel • Forgive Us,
Your People / Perdona a
Tu Pueblo • O Come,
Let Us Worship / Venid,
Oh Cristianos •
Called to the Supper of
the Lamb / Llamados al
Banquete del Señor The
Easter Vigil in the Holy
Night / Vigilia Pascual
en la Noche Santa: The
Easter Proclamation /
Pregón Pascual •
Lord, Send Out Your
Spirit / EnvÃa Tu
EspÃritu, Señor
• Keep Me Safe, O
God / Protégeme, Dios
MÃo • Let Us
Sing to the Lord /
Cantemos al Señor
• I Will Praise
You, Lord / Te
Ensalzaré, Señor
• You Will Draw
Water Joyfully / Ustedes
Sacarán Agua con Gozo
• Words of
Everlasting Life /
Palabras de Vida Eterna
• Like a Deer that
Longs / Como Busca la
Cierva (Psalm 42, 43 /
Salmo 42/41, 43/42)
• Easter Alleluia /
Aleluya Pascual •
Litany of the Saints /
LetanÃa de los Santos
• Alleluia Popular:
Blessing of Water /
Aleluya Popular:
Bendición del Agua
• Alleluia Popular:
Baptism / Aleluya
Popular: Bautismo •
Alleluia Popular:
Acclamation / Aleluya
Popular: Aclamación
• Veni Sancte
Spiritus • Alleluia
Popular: Sprinkling /
Aleluya Popular:
Aspersión •
Lord, We Ask You, Hear
Our Prayer / Te Rogamos,
Óyenos • Called
to the Supper of the Lamb
/ Llamados al Banquete
del Señor. Learn more
about this collection in
this webinar below
featuring composer Tony
Alonso. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Arias for Dramatic Tenor Voix Tenor [Partition + CD] Ricordi
Cantolopera Series. By Various. (Book and CD pak). This edition: RNR139853. Voca...(+)
Cantolopera Series. By
Various. (Book and CD
pak). This edition:
RNR139853. Vocal
Collection. Play Along.
Softcover with CD.
Published by Ricordi.
$29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gloriosi - Choral edition Chorale 3 parties SAB GIA Publications
SAB choir, cantor, priest, assembly, 2 C instruments, trumpet in B-flat, trumpet...(+)
SAB choir, cantor,
priest, assembly, 2 C
instruments, trumpet in
B-flat, trumpet in C,
cello, guitar SKU:
GI.G-10515C Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. This
edition: Choral edition.
Sacred. 128 pages. GIA
Publications #10515C.
Published by GIA
Publications
(GI.G-10515C). UPC:
785147051510. The
first comprehensive
resource of its kind,
Gloriosi contains a
treasure trove of ritual
music that bridges
linguistic, cultural, and
musical differences for
the liturgies of Holy
Thursday, Good Friday,
and the Easter Vigil.
Weaving together familiar
tunes and ancient chants
with newly-composed
pieces, Tony Alonso has
meticulously crafted the
music of Gloriosi to
inspire the participation
of a diverse assembly
during these celebrations
at the heart of the
liturgical year. In
addition to settings of
all of the ritual texts
found in the Roman Missal
/ Misal Romano for the
Three Days, this
collection contains
settings of every
prescribed psalm drawn
from texts approved for
liturgical use in English
and in Spanish. El primer
recurso completo de su
tipo, Gloriosi es un
tesoro rebosante de
música ritual que
supera las diferencias
lingüÃsticas,
culturales y musicales
para las liturgias del
Jueves Santo, Viernes
Santo y la Vigilia
Pascual. Tejiendo
melodÃas familiares y
cantos antiguos con
piezas recién
compuestas, Tony Alonso
ha elaborado
meticulosamente la
música de Gloriosi
para inspirar la
participación de una
asamblea diversa durante
estas celebraciones que
están al centro del
año litúrgico.
Además de proporcionar
los textos rituales que
se encuentran en el Misal
Romano / Roman Missal
para los Tres DÃas en
forma musicalizada, esta
colección también
ofrece nueva música
para todos los salmos
prescritos para las
liturgias del Triduo
utilizando los textos
oficiales en español y
en inglés. Listen to
Music Samples on the
Gloriosi Recording Page
by Clicking HERE.
CONTENTS: Holy Thursday
Mass of the Lord’s
Supper / Jueves Santo de
la Cena del Señor: We
Should Glory in the Cross
/ Que Nuestro Único
Orgullo Sea la Cruz
• Blessed Be God
Forever / Bendito Sea
Dios por Siempre •
Kyrie, Eleison •
Our Blessing-Cup / El
Cáliz que Bendecimos
• Glory to You /
Gloria a Ti • A New
Commandment / Un
Mandamiento Nuevo •
Love One Another /
Ãmense Unos a Otros
• Lord, Hear Our
Prayer / Te Rogamos,
Óyenos • Ubi
Caritas • Agnus Dei
• Called to the
Supper of the Lamb /
Llamados al Banquete del
Señor • Called
to Keep Vigil with the
Lord / Llamados a Velar
con el Señor •
Tantum Ergo Sacramentum
Good Friday of the
Passion of the Lord /
Viernes Santo de la
Pasión del Señor:
Into Your Hands / En Tus
Manos • Glory to
You / Gloria a Ti •
Adoramus Te • The
Solemn Intercessions of
Good Friday / La
Oración Universal del
Viernes Santo •
Behold the Wood of the
Cross / Miren el Ãrbol
de la Cruz •
Faithful Cross / Cruz
Fiel • Forgive Us,
Your People / Perdona a
Tu Pueblo • O Come,
Let Us Worship / Venid,
Oh Cristianos •
Called to the Supper of
the Lamb / Llamados al
Banquete del Señor The
Easter Vigil in the Holy
Night / Vigilia Pascual
en la Noche Santa: The
Easter Proclamation /
Pregón Pascual •
Lord, Send Out Your
Spirit / EnvÃa Tu
EspÃritu, Señor
• Keep Me Safe, O
God / Protégeme, Dios
MÃo • Let Us
Sing to the Lord /
Cantemos al Señor
• I Will Praise
You, Lord / Te
Ensalzaré, Señor
• You Will Draw
Water Joyfully / Ustedes
Sacarán Agua con Gozo
• Words of
Everlasting Life /
Palabras de Vida Eterna
• Like a Deer that
Longs / Como Busca la
Cierva (Psalm 42, 43 /
Salmo 42/41, 43/42)
• Easter Alleluia /
Aleluya Pascual •
Litany of the Saints /
LetanÃa de los Santos
• Alleluia Popular:
Blessing of Water /
Aleluya Popular:
Bendición del Agua
• Alleluia Popular:
Baptism / Aleluya
Popular: Bautismo •
Alleluia Popular:
Acclamation / Aleluya
Popular: Aclamación
• Veni Sancte
Spiritus • Alleluia
Popular: Sprinkling /
Aleluya Popular:
Aspersión •
Lord, We Ask You, Hear
Our Prayer / Te Rogamos,
Óyenos • Called
to the Supper of the Lamb
/ Llamados al Banquete
del Señor. $16.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gloriosi - Guitar edition Guitare GIA Publications
Guitar SKU: GI.G-10515G Music of the Paschal Triduum / Música del T...(+)
Guitar SKU:
GI.G-10515G Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. This
edition: Guitar edition.
Sacred. Guitar part. With
guitar chord names. 168
pages. GIA Publications
#10515G. Published by GIA
Publications
(GI.G-10515G). UPC:
785147051572. The
first comprehensive
resource of its kind,
Gloriosi contains a
treasure trove of ritual
music that bridges
linguistic, cultural, and
musical differences for
the liturgies of Holy
Thursday, Good Friday,
and the Easter Vigil.
Weaving together familiar
tunes and ancient chants
with newly-composed
pieces, Tony Alonso has
meticulously crafted the
music of Gloriosi to
inspire the participation
of a diverse assembly
during these celebrations
at the heart of the
liturgical year. In
addition to settings of
all of the ritual texts
found in the Roman Missal
/ Misal Romano for the
Three Days, this
collection contains
settings of every
prescribed psalm drawn
from texts approved for
liturgical use in English
and in Spanish. El primer
recurso completo de su
tipo, Gloriosi es un
tesoro rebosante de
música ritual que
supera las diferencias
lingüÃsticas,
culturales y musicales
para las liturgias del
Jueves Santo, Viernes
Santo y la Vigilia
Pascual. Tejiendo
melodÃas familiares y
cantos antiguos con
piezas recién
compuestas, Tony Alonso
ha elaborado
meticulosamente la
música de Gloriosi
para inspirar la
participación de una
asamblea diversa durante
estas celebraciones que
están al centro del
año litúrgico.
Además de proporcionar
los textos rituales que
se encuentran en el Misal
Romano / Roman Missal
para los Tres DÃas en
forma musicalizada, esta
colección también
ofrece nueva música
para todos los salmos
prescritos para las
liturgias del Triduo
utilizando los textos
oficiales en español y
en inglés. Listen to
Samples on the Recording
Page by Clicking Here
CONTENTS: Holy Thursday
Mass of the Lord’s
Supper / Jueves Santo de
la Cena del Señor: We
Should Glory in the Cross
/ Que Nuestro Único
Orgullo Sea la Cruz
• Blessed Be God
Forever / Bendito Sea
Dios por Siempre •
Kyrie, Eleison •
Our Blessing-Cup / El
Cáliz que Bendecimos
• Glory to You /
Gloria a Ti • A New
Commandment / Un
Mandamiento Nuevo •
Love One Another /
Ãmense Unos a Otros
• Lord, Hear Our
Prayer / Te Rogamos,
Óyenos • Ubi
Caritas • Agnus Dei
• Called to the
Supper of the Lamb /
Llamados al Banquete del
Señor • Called
to Keep Vigil with the
Lord / Llamados a Velar
con el Señor •
Tantum Ergo Sacramentum
Good Friday of the
Passion of the Lord /
Viernes Santo de la
Pasión del Señor:
Into Your Hands / En Tus
Manos • Glory to
You / Gloria a Ti •
Adoramus Te • The
Solemn Intercessions of
Good Friday / La
Oración Universal del
Viernes Santo •
Behold the Wood of the
Cross / Miren el Ãrbol
de la Cruz •
Faithful Cross / Cruz
Fiel • Forgive Us,
Your People / Perdona a
Tu Pueblo • O Come,
Let Us Worship / Venid,
Oh Cristianos •
Called to the Supper of
the Lamb / Llamados al
Banquete del Señor The
Easter Vigil in the Holy
Night / Vigilia Pascual
en la Noche Santa: The
Easter Proclamation /
Pregón Pascual •
Lord, Send Out Your
Spirit / EnvÃa Tu
EspÃritu, Señor
• Keep Me Safe, O
God / Protégeme, Dios
MÃo • Let Us
Sing to the Lord /
Cantemos al Señor
• I Will Praise
You, Lord / Te
Ensalzaré, Señor
• You Will Draw
Water Joyfully / Ustedes
Sacarán Agua con Gozo
• Words of
Everlasting Life /
Palabras de Vida Eterna
• Like a Deer that
Longs / Como Busca la
Cierva (Psalm 42, 43 /
Salmo 42/41, 43/42)
• Easter Alleluia /
Aleluya Pascual •
Litany of the Saints /
LetanÃa de los Santos
• Alleluia Popular:
Blessing of Water /
Aleluya Popular:
Bendición del Agua
• Alleluia Popular:
Baptism / Aleluya
Popular: Bautismo •
Alleluia Popular:
Acclamation / Aleluya
Popular: Aclamación
• Veni Sancte
Spiritus • Alleluia
Popular: Sprinkling /
Aleluya Popular:
Aspersión •
Lord, We Ask You, Hear
Our Prayer / Te Rogamos,
Óyenos • Called
to the Supper of the Lamb
/ Llamados al Banquete
del Señor. $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gloriosi - Instrument edition GIA Publications
Guitar, C instrument 1, C instrument 2, trumpet in B-flat, trumpet in C, cello <...(+)
Guitar, C instrument 1, C
instrument 2, trumpet in
B-flat, trumpet in C,
cello SKU:
GI.G-10515INST
Music of the Paschal
Triduum / Música del
Triduo Pascual.
Composed by Tony Alonso
S.J. Arranged by Chris De
Silva. This edition:
Instrument edition.
Sacred. Instrumental
part(s). 168 pages. GIA
Publications #10515INST.
Published by GIA
Publications
(GI.G-10515INST). UPC:
785147051596. The
first comprehensive
resource of its kind,
Gloriosi contains a
treasure trove of ritual
music that bridges
linguistic, cultural, and
musical differences for
the liturgies of Holy
Thursday, Good Friday,
and the Easter Vigil.
Weaving together familiar
tunes and ancient chants
with newly-composed
pieces, Tony Alonso has
meticulously crafted the
music of Gloriosi to
inspire the participation
of a diverse assembly
during these celebrations
at the heart of the
liturgical year. In
addition to settings of
all of the ritual texts
found in the Roman Missal
/ Misal Romano for the
Three Days, this
collection contains
settings of every
prescribed psalm drawn
from texts approved for
liturgical use in English
and in Spanish. El primer
recurso completo de su
tipo, Gloriosi es un
tesoro rebosante de
música ritual que
supera las diferencias
lingüÃsticas,
culturales y musicales
para las liturgias del
Jueves Santo, Viernes
Santo y la Vigilia
Pascual. Tejiendo
melodÃas familiares y
cantos antiguos con
piezas recién
compuestas, Tony Alonso
ha elaborado
meticulosamente la
música de Gloriosi
para inspirar la
participación de una
asamblea diversa durante
estas celebraciones que
están al centro del
año litúrgico.
Además de proporcionar
los textos rituales que
se encuentran en el Misal
Romano / Roman Missal
para los Tres DÃas en
forma musicalizada, esta
colección también
ofrece nueva música
para todos los salmos
prescritos para las
liturgias del Triduo
utilizando los textos
oficiales en español y
en inglés. Listen to
Music Samples on the
Recording Page by
Clicking HERE CONTENTS:
Holy Thursday Mass of the
Lord’s Supper /
Jueves Santo de la Cena
del Señor: We Should
Glory in the Cross / Que
Nuestro Único Orgullo
Sea la Cruz •
Blessed Be God Forever /
Bendito Sea Dios por
Siempre • Kyrie,
Eleison • Our
Blessing-Cup / El
Cáliz que Bendecimos
• Glory to You /
Gloria a Ti • A New
Commandment / Un
Mandamiento Nuevo •
Love One Another /
Ãmense Unos a Otros
• Lord, Hear Our
Prayer / Te Rogamos,
Óyenos • Ubi
Caritas • Agnus Dei
• Called to the
Supper of the Lamb /
Llamados al Banquete del
Señor • Called
to Keep Vigil with the
Lord / Llamados a Velar
con el Señor •
Tantum Ergo Sacramentum
Good Friday of the
Passion of the Lord /
Viernes Santo de la
Pasión del Señor:
Into Your Hands / En Tus
Manos • Glory to
You / Gloria a Ti •
Adoramus Te • The
Solemn Intercessions of
Good Friday / La
Oración Universal del
Viernes Santo •
Behold the Wood of the
Cross / Miren el Ãrbol
de la Cruz •
Faithful Cross / Cruz
Fiel • Forgive Us,
Your People / Perdona a
Tu Pueblo • O Come,
Let Us Worship / Venid,
Oh Cristianos •
Called to the Supper of
the Lamb / Llamados al
Banquete del Señor The
Easter Vigil in the Holy
Night / Vigilia Pascual
en la Noche Santa: The
Easter Proclamation /
Pregón Pascual •
Lord, Send Out Your
Spirit / EnvÃa Tu
EspÃritu, Señor
• Keep Me Safe, O
God / Protégeme, Dios
MÃo • Let Us
Sing to the Lord /
Cantemos al Señor
• I Will Praise
You, Lord / Te
Ensalzaré, Señor
• You Will Draw
Water Joyfully / Ustedes
Sacarán Agua con Gozo
• Words of
Everlasting Life /
Palabras de Vida Eterna
• Like a Deer that
Longs / Como Busca la
Cierva (Psalm 42, 43 /
Salmo 42/41, 43/42)
• Easter Alleluia /
Aleluya Pascual •
Litany of the Saints /
LetanÃa de los Santos
• Alleluia Popular:
Blessing of Water /
Aleluya Popular:
Bendición del Agua
• Alleluia Popular:
Baptism / Aleluya
Popular: Bautismo •
Alleluia Popular:
Acclamation / Aleluya
Popular: Aclamación
• Veni Sancte
Spiritus • Alleluia
Popular: Sprinkling /
Aleluya Popular:
Aspersión •
Lord, We Ask You, Hear
Our Prayer / Te Rogamos,
Óyenos • Called
to the Supper of the Lamb
/ Llamados al Banquete
del Señor. $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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