Just as Mary and Joseph moved from darkness into light, so do all when accepting the One True Light. This new 40-minute adult Christmas musical from Mary McDonald features fresh settings of carols along with beautiful new songs, and celebrates the Light of Christ. An optional candlelight moment is included, along with inspired narration and lighting suggestions to heighten the darkness into light theme. Reproducible Rehearsal Trax feature part-dominant tracks. / Choeur

The Veil of the Temple is a journey from darkness into light. Care and attention has been given to the key chosen for each anthem and to the voicings, so that these versions are attractive to the broadest possible range of amateur as well as professional singers. The breathtakingly simple Mother Of God, here I stand and the quietly ecstatic Awed by the Beauty are for unaccompanied chorus. The remaining three anthems are scored with Organ accompaniment: the sonorous You mantle yourself in light - the contemplative What God is we do not know and the radiant O Mary Theotokos. / Chant Et Piano / 32 pages / Partition

Par SPARKE PHILIP. Out of the Darkness, Into the Light is about optimism. All of us experience disappointments in our lives, such failed relationships or the loss of loved ones, but the indomitability of the human spirit allows us to overcome such set backs and get through the darker moments. For some, faith and religion may be the answer, but this piece is more about the internal strength that we can all call upon. Opening in sombre mood, the first phase of the work symbolises the doubts we all have about ourselves and our lives. The opening phrase on solo clarinet appears throughout the piece and could be seen as the central idea of the work, the human spirit itself. The faster, centralsection is about the struggle to overcome the pain we experience and at bar 88 the moment of catharsis occurs. This signals a change of mood and from then on, the clarinet motif is transformed into a feeling of joy and optimism. We have entered the light. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

from The 12th Room for Solo Piano (2015). Par BOSSO EZIO. Ezio Bosso?s Sonata No. 1 in G minor is a fundamental stage in the journey through his music. It was created while the musician was in that ?unpleasant? room (that of his illness) which sometimes became dark and, when he came out of it, remained inside him and conditioned his body ? his ?twelfth room?. But precisely because, in Ezio?s words, ?every problem is an opportunity?, those dark moments were converted into light, his suffering translated into music, into a three-stroke sonata for piano solo full of intensity and emotion, the same emotions that Ezio conveyed in the concerts of the 2016 tour, the only one that saw him as a soloist, or a ?pianist when necessary?, as he liked to refer to himself. / Répertoire / Piano

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Your new official bebop bible! Over 200 classics arranged for C instruments in Real Book style. Titles include: Anthropology À Au Privave À Be-Bop À Boneology À Boplicity (Be Bop Lives) À Byrd Like À Cherokee (Indian Love Song) À Confirmation À Donna Lee À Doxy À Epistrophy À 52nd Street Theme À Four À Goin' to Minton's À Good Bait À Groovin' High À Hi-Fly À Hot House À In Walked Bud À Jay Bird À Lady Bird À Lennie's Pennies À Moose the Mooche À Move À Oblivion À Oleo À Parisian Thoroughfare À Rosetta À Salt Peanuts À Solar À Teaneck À Tin Tin Deo À Tour De Force À Tricrotism À Wail À Woodyn' You À Yardbird Suite À and more!/ Recueil / Instruments en Do

A hot collection of 20 hits arranged with melody, lyrics and chord diagrams for standard G-C-E-A tuning. Includes: Better Man - Black Hole Sun - Breakeven - Creep - Do I Wanna Know? - I Will Follow You into the Dark - Lonely Boy - The Only Exception - Paradise - Plush - Radioactive - Say It Ain't So - Take Me to Church - 21 Guns - Use Somebody - We Are Young - and more. / Ukulélé

Une collection complète de près de 50 normes Bluegrass savamment arrangé pour Piano, Voix et Guitare. Les chansons incluent: Ballad of Jed Clampett - Blue Ridge Cabin Home - Doin' My Time - Foggy Mountaintop - Footprints in the Snow - I Am a Man of Constant Sorrow - I'll Fly Away - In the Pines - Keep on the Sunny Side - Midnight Moonlight - Molly and Ten Brooks - Old Home Place - Rocky Top - Salty Dog Blues - Turn Your Radio On - Wabash Cannonball - The Wreck of the Old '97 / Piano/Vocal/Guitare (PVG)

Une sélection de chansons incontournables de la variété et du pop/rock acoustique international en transcriptions ligne mélodique, paroles complètes et accords tous instruments. Titres : Across The Universe - Against The Wind - Alison - American Pie - American Tune - Annie's Song - Arms Of A Woman - At Seventeen - Baby Can I Hold You - Baby Hold On - Babylon - Banana Pancakes - Barely Breathing - Beg Steal Or Borrow - Big Yellow Taxi - Black Horse And The Cherry Tree - The Boys Of Summer - Breakeven - Building A Mystery - Burn One Down - Can't Find My Way Home - Caramel - Cat's In The Cradle - Catch The Wind - Change The World (featured on the Motion Picture Soundtrack PHENOMENON) - Chasing Cars - The Christians And The Pagans - Chuck E's In Love - Cigarettes And Chocolate Milk - City Of New Orleans - Closer To Fine - Closing Time - Come Monday - Come On Get Higher - Come Pick Me Up - Constant Craving - Copperhead Road - Criminal - Dance With Me - Danny's Song - Darlin' Do Not Fear - Diamonds On The Inside - Don't Know Why - Don't Look Back In Anger - Dream Weaver (featured in the Motion Picture WAYNE'S WORLD) - Drift Away - Dust In The Wind - Early Mornin' Rain - Eight Miles High - Elderly Woman Behind The Counter In A Small Town - Escape (The Pina Colada Song) - Everybody's Talkin' (Echoes) (from MIDNIGHT COWBOY) - Everyone's Waiting - Everything I Own - Fallin' For You - Famous Blue Raincoat - Fast Car - Feels Like Home (from the Motion Picture MICHAEL) - Fidelity - Flake - Follow You Down - Fooled Around And Fell In Love - For What It's Worth - Free Fallin' - Fugitive - Give A Little Bit - Good Riddance (Time Of Your Life) - Good Time Charlie's Got The Blues - Half Of My Heart - Hallelujah (featured in the DreamWorks Motion Picture SHREK) - Have A Little Faith In Me - Have You Ever Seen The Rain? - Hello, It's Me - Hey There Delilah - Hickory Wind - Ho Hey - Hold You In My Arms - Home - Home - Hook - A Horse With No Name - Hummingbird - I Believe She's Lying - I Can't Make You Love Me - I Got You Babe - I Melt With You - I Need You - I Saw The Light - I Will Follow You Into The Dark - I Wonder - I'd Rather Be With You - I'll Be - Ice Cream - If I Had A Boat - If It Makes You Happy - If You Could Read My Mind - If You Leave Me Now - If You're Gone - Into The Mystic - It's A Heartache - Jealousy - Jumper - Kiss From A Rose - Knockin' On Heaven's Door - Last Kiss - The Lazy Song - Leader Of The Band - Least Complicated - Leaving On A Jet Plane - Let Him Fly - Like A Rolling Stone - Little Lies - Losing My Religion - Lover, You Should've Come Over - Lowdown - Lucky - Make It With You - Man On The Moon - Me and Julio Down By The Schoolyard - Meet Virginia - Missing You - Mrs. Robinson (from THE GRADUATE) - Mr. Bojangles - More Than Words - My Love - Naked As We Came - Name - New York, New York - 1952 Vincent Black Lightning - No Such Thing - Norwegian Wood (This Bird Has Flown) - Oliver's Army - One Love - One Of Us - Operator (That's Not The Way It Feels) - Peace Train - Peaceful Easy Feeling - Pink Houses - Pink Moon - Please Come To Boston - Possession - Push - Put Your Records On - Reason To Believe - Redemption Song - Rhythm Of Love - Round Here - Running On Empty - San Francisco Bay Blues - Sara Smile - Save Tonight - The Scientist - Scotch And Soda - Screaming Infidelities - She Runs Away - She Talks To Angels - Shelter From The Storm - Shiver Me Timbers - Show Me The Way - 6th Avenue Heartache - Skinny Love - Sky Blue Sky - Slip Slidin' Away - Songbird - The Sound Of Silence - Southern Cross - The Space Between - Stay - Steal Away - Steal My Kisses - Still - Stolen - Stoned Soul Picnic (Picnic, A Green City) - The Story - Suddenly I See - Summer Breeze - Sunny Came Home - Sunshine (Go Away Today) - Sunshine Superman - The Swimming Song - Tangled Up In Blue - Taxi - Tequila Sunrise - Thank You - Time In A Bottle - Toes - Tom's Diner - Torn - Touch Of Grey - Trouble - Tupelo Honey - Use Me - Vincent (Starry Starry Night) - Wagon Wheel - Waiting On The World To Change - Walk On The Wild Side - Walking In Memphis - The Way I Am - We Just Disagree - The Weight - Welcome Back (from the Television Series WELCOME BACK, KOTTER) - What I Am - What I Got - White Flag - Who Will Save Your Soul - Why Walk When You Can Fly - Wicked Game - Wild Horses - Woman - Wonder - Wonderwall - Wooden Ships - Yellow - You Can Sleep While I Drive - You Learn - You Were Meant For Me - You're So Vain - You've Got A Friend - You've Got To Hide Your Love Away - Your Song / Ligne Mélodique, Paroles Et Accords

Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre

This ?Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family) - the string section in the Sarabande - in both chorales (extremely muted in the first and brutalist in the second), the brass etc. - and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses - it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann / Flûte Et Orchestre

Création 04/11/2018 - Cologne (Allemagne), Philharmonie - Anaïs Gaudemard (harpe) Commanditaire Fondation Calouste Gulbenkian et Philharmonie de Paris Dédicace à Anaïs Gaudemard Notice Nighthawks est une oeuvre pour harpe solo. Lorsqu' Anaïs Gaudemard [1] m'a demandé d'écrire cette oeuvre, elle souhaitait l'intégrer à un programme sur le thème des oiseaux. J'ai immédiatement pensé à l'oeuvre Nighthawks (1942) - ou Oiseaux de nuit - du peintre réaliste américain Edward Hopper (1882-1967). Inspirée par cette oeuvre, j'ai conçu la pièce d'un seul tenant comme un voyage au coeur de ce tableau. Hopper y projette un instantané de la vie quotidienne américaine. La scène se déroule à une heure avancée de la nuit et plusieurs atmosphères s'en dégagent. En effet, l'oeil est à la fois attiré par cette rue sombre, déserte, et immaculée d'un centre-ville américain ; intrigué par la situation figée des quatre personnages à l'intérieur d'un diner aux couleurs vives ; et hypnotisé par l'éclat de l'immense vitrine du bar. Contrastante avec l'obscurité de la rue, la lumière de cette vitre éclairée au néon est saisissante. Elle sépare ainsi les deux ambiances du tableau. La vue du spectateur à travers elle se fait de l'extérieur vers l'intérieur du bar. L'absence de porte de sortie donne l'impression que les personnages sont isolés et leur solitude est encore renforcée par cette vitre qui entoure la scène éclairée - comme s'ils étaient sous cloche. A l'intérieur du diner, un homme vu de dos mange ; un couple se tient côte à côte (l'homme fume ; la femme est vêtue de rouge) ; un serveur s'affaire. Nous ne savons rien d'eux. Que font-ils à une heure si tardive ? Où se trouve la sortie ? De quoi discutent-ils ? Se connaissent-ils ? J'ai voulu concevoir musicalement cette scène du point de vue du spectateur, comme si nous étions happés, aspirés à l'intérieur même du tableau. L'introduction - Mystérieux, sombre - fait entendre les douze coups de minuit et nous plonge dans l'obscurité de cette rue typiquement américaine. De cette atmosphère nocturne naît un chant étrange - presque ouaté avec les sons xylophoniques - comme si nous ne pouvions l'entendre distinctement à travers la vitre lumineuse qui sépare la rue et le bar. Happés par cette lumière vive, nous passons à travers la vitrine et rentrons progressivement à l'intérieur du diner au moyen d'une boucle hypnotique répétée inlassablement, comme si nous rentrions dans un état de transe - Hypnotique. C'est la tension sous-jacente de cette situation figée des personnages que j'ai voulu représenter dans le passage central - Rythmique et pulsé. Puis, nous sortons de cette sensation d'hypnose en repassant à travers la vitre du bar et retrouvons l'atmosphère nocturne de cette rue déserte et immaculée - Hypnotique - Mystérieux. Camille Pepin [1] Créatrice et dédicataire de la pièce Presse Que voici une oeuvre tout simplement belle ! Camille Pépin, née en 1990, a eu un parcours marqué par la danse et la composition. Mais on découvre ici tout simplement une artiste, qui nous invite à la contemplation d'une oeuvre du peintre Edward Hopper. Ayant travaillé la composition et l'orchestration aussi bien avec Thierry Perrine qu'avec Thierry Escaich, Guillaume Connesson et Marc- André Dalbavie, elle s'est forgé un langage original qui lui permet ici de nous envouter à la fois par sa musique et par la contemplation du tableau. On pourra en juger par l'interprétation qui est faite de cette pièce sur YouTube qu'on écoutera ainsi en regardant le tableau. Bien sûr, on peut aussi écouter l'oeuvre telle quelle : elle se suffit. Mais avec le tableau... Daniel Blackstone L'Education Musicale n°128 (janv-fév 2020)

This brand new compilation acts as a source for the very best of today's worship songs, with many of the leading names in contemporary Christian music-writing represented. Each song has been freshly engraved and is presented in full piano/keyboard arrangements with complete words and chord symbols. Here you will find music to enhance moments of prayer, devotion, worship and praise. Spiral-bound for easy singing and playing. / Piano/Vocal/Guitare (PVG)