Composed by Erik Whitehall. For unison/2-part choir with piano and 2 optional C ...(+)
Composed by Erik
Whitehall. For
unison/2-part choir with
piano and 2 optional C
instruments. Children's
musical. Sacred. Singer's
edition. Published by
Chorister's Guild
SKU: WD.080689659225 Composed by Kathie Hill. Choral. Modern Christian. L...(+)
SKU:
WD.080689659225
Composed by Kathie Hill.
Choral. Modern Christian.
Listening CD. Word Music
#080689659225. Published
by Word Music
(WD.080689659225).
UPC:
080689659225.
Today
we have the freedom to
demonstrate our faith as
we pray in public, attend
church or witness to
others. But what if our
faith in God was judged
only by our response to
crisis? Queen Esther kept
her faith a secret to
silently influence the
Persian court, but it was
dramatically demonstrated
when she risked her life
to plead for the
salvation of her people.
In Kathie Hill's
Esther-Ordinary Faith,
your children will learn
the value of a living
faith as they create a
first-hand account of the
events in Esther's life.
In the musical, a
fictional scribe, Zerox,
details Esther becoming
queen through God's
intervention in Haman's
plot and Mordecai's
appointment as the king's
adviser. And, as Zerox
tells the story, he
experiences the testimony
of Esther and develops
his own faith in God and
His grace. All this is
done through gritty songs
and witty dialogue
between these characters
and the residents of
Susa, the Susans. Songs
like God Is in Control,
The Eleventh Hour, While
You Sleep and In That
Moment, will help
children understand the
sovereignty of God and
the confidence we can
have in trusting Him with
the greatest of problems
by displaying our own
Esther-Ordinary Faith!
Ages: 2nd - 8th
Grades.
SKU: WD.080689699122 Composed by Kathie Hill. Choral. Modern Christian. A...(+)
SKU:
WD.080689699122
Composed by Kathie Hill.
Choral. Modern Christian.
Accompaniment CD (split).
Word Music #080689699122.
Published by Word Music
(WD.080689699122).
UPC:
080689699122.
Today
we have the freedom to
demonstrate our faith as
we pray in public, attend
church or witness to
others. But what if our
faith in God was judged
only by our response to
crisis? Queen Esther kept
her faith a secret to
silently influence the
Persian court, but it was
dramatically demonstrated
when she risked her life
to plead for the
salvation of her people.
In Kathie Hill's
Esther-Ordinary Faith,
your children will learn
the value of a living
faith as they create a
first-hand account of the
events in Esther's life.
In the musical, a
fictional scribe, Zerox,
details Esther becoming
queen through God's
intervention in Haman's
plot and Mordecai's
appointment as the king's
adviser. And, as Zerox
tells the story, he
experiences the testimony
of Esther and develops
his own faith in God and
His grace. All this is
done through gritty songs
and witty dialogue
between these characters
and the residents of
Susa, the Susans. Songs
like God Is in Control,
The Eleventh Hour, While
You Sleep and In That
Moment, will help
children understand the
sovereignty of God and
the confidence we can
have in trusting Him with
the greatest of problems
by displaying our own
Esther-Ordinary Faith!
Ages: 2nd - 8th
Grades.
SKU: WD.080689320972 Composed by Kathie Hill. Choral. Christmas. Director...(+)
SKU:
WD.080689320972
Composed by Kathie Hill.
Choral. Christmas.
Director's aide and
video. Word Music
#080689320972. Published
by Word Music
(WD.080689320972).
UPC:
080689320972.
Today
we have the freedom to
demonstrate our faith as
we pray in public, attend
church or witness to
others. But what if our
faith in God was judged
only by our response to
crisis? Queen Esther kept
her faith a secret to
silently influence the
Persian court, but it was
dramatically demonstrated
when she risked her life
to plead for the
salvation of her people.
In Kathie Hill's
Esther-Ordinary Faith,
your children will learn
the value of a living
faith as they create a
first-hand account of the
events in Esther's life.
In the musical, a
fictional scribe, Zerox,
details Esther becoming
queen through God's
intervention in Haman's
plot and Mordecai's
appointment as the king's
adviser. And, as Zerox
tells the story, he
experiences the testimony
of Esther and develops
his own faith in God and
His grace. All this is
done through gritty songs
and witty dialogue
between these characters
and the residents of
Susa, the Susans. Songs
like God Is in Control,
The Eleventh Hour, While
You Sleep and In That
Moment, will help
children understand the
sovereignty of God and
the confidence we can
have in trusting Him with
the greatest of problems
by displaying our own
Esther-Ordinary Faith!
Ages: 2nd - 8th
Grades.
Oratorio in six scenes. Composed by George Frideric Handel (1685-1759). Edited...(+)
Oratorio in six scenes.
Composed by George
Frideric
Handel (1685-1759).
Edited by
Howard Serwer. This
edition:
complete edition, urtext
edition. Linen. Halle
Handel
Edition (HHA) Series I,
Volume 8. First version.
Score. Composed 1720. HWV
50a. Baerenreiter Verlag
#BA04047-01. Published by
Baerenreiter Verlag
Voice and Piano SKU: BT.ALHE29321 Chant Et Piano - Anglais. Compos...(+)
Voice and Piano
SKU:
BT.ALHE29321
Chant
Et Piano - Anglais.
Composed by Darius
Milhaud. Classical. Book
Only. 178 pages. Heugel &
Cie #ALHE29321. Published
by Heugel & Cie
(BT.ALHE29321).
French.
Milhaud
Darius Esther De
Carpentras Voice & Piano
Book English.
(German version). By Frederic Chopin (1810-1849). Edited by Alex Szilasi. For Pi...(+)
(German version). By
Frederic Chopin
(1810-1849). Edited by
Alex Szilasi. For Piano
solo. This edition:
Facsimile. Esther -
Collection Romantique.
Score. 28 pages.
Published by Anne Fuzeau
Productions - France
(Ouverture zum Oratorium La liberatrice del populo giudaico nella Persia ossia ...(+)
(Ouverture zum Oratorium
La liberatrice del populo
giudaico nella Persia
ossia l'Esther ). By Karl
Ditters Von Dittersdorf
(1739-1799). Overture.
For orchestra
([0.2.0.2-0,2,0,0],
Strings). Set of parts
Hava Nagila Ensemble de cuivres [Conducteur et Parties séparées] - Facile Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-396-030 Arranged by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-396-030
Arranged by Philip
Sparke. Anglo Music
Midway Series. Original
Light Music. Set (Score &
Parts). Composed 2013.
Anglo Music Press #AMP
396-030. Published by
Anglo Music Press
(BT.AMP-396-030).
9x12
inches.
English-German-French-Dut
ch.
Hava
Nagila (the title
means ‘let us
rejoice’) is
perhaps the best known
example of a style of
Jewish music called
‘klezmer’.
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.‘Klezmerâ€
is a Yiddish term
combining the Hebrew
words ‘kley’
(instrument) and
‘zemer’
(song) and 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).Since the
16th century, lyrics
hadbeen added to klezmer
music, due to the
‘badkhn’
(the master of ceremony
at weddings), to the
‘Purimshpil’
(the play of Esther at
Purim) and to traditions
of the Yiddish theatre,
but the term gradually
became synonymous with
instrumental music,
particularly featuring
the violin and clarinet.
The melody of Hava
Nagila was adapted
from a folk dance from
the Romanian district of
Bucovina. The commonly
used text is taken from
Psalm 118 of the Hebrew
bible.
Hava
Nagila (de titel
betekent ‘laat ons
gelukkig zijn’) is
misschien wel het
bekendste voorbeeld van
klezmer, een Joodse
muziekstijl.De
klezmermuziek komt van
oorsprong uit de sjtetls
(dorpen) en de
getto’s van
Oost-Europa, waar
rondtrekkende Joodse
troubadours, bekend als
klezmorim, al sinds de
middeleeuwen hadden
opgetreden bij
feestelijkheden, en dan
met name
bruiloften.Klezmer is een
Jiddische term waarin de
Hebreeuwse woorden kley
(instrument) en zemer
(lied) zijn samengevoegd.
De wortels van de stijl
liggen in wereldlijke
melodieën,
volksdansen, de
joods-liturgische hazanut
en ook de nigunim, de
woordeloze melodieën
zoals die worden
voorgedragen
doorchassidische
(orthodoxe) joden.Sinds
de 16e eeuw zijn er aan
de klezmermuziek ook
teksten toegevoegd,
dankzij de badchen (de
ceremoniemeester bij
huwelijken), het
poerimspel (het verhaal
van Esther tijdens
Poerim/het Lotenfeest) en
tradities binnen het
Jiddische theater, maar
de term werd geleidelijk
synoniem aan
instrumentale muziek met
een hoofdrol voor de
viool en klarinet.De
melodie van Hava
Nagila is afkomstig
van een volksdans uit de
Roemeense regio
Boekovina. De meest
gebruikte tekst voor het
lied kom uit psalm 118
van de Hebreeuwse Bijbel.
Hava
Nagila (auf Deutsch
‚Lasst uns
glücklich
sein’) ist
vielleicht das
bekannteste Beispiel
für den jüdischen
Musikstil namens
‚Klezmer’.
Klezmermusik hat ihren
Ursprung in den
Shtetls“
(Städtchen) und den
Ghettos Osteuropas,
woumherziehende
jüdische Troubadours,
die man
‚Klezmorim’
nannte, schon seit dem
frühen Mittelalter auf
Feiern, vor allem
Hochzeiten, zu spielen
pflegten. Klezmer ist ein
jiddischer Begriff, der
sich aus den
hebräischen Wörtern
‚kley’(Instr
ument) und
‚zemer’
(Lied) zusammensetzt. Die
Wurzeln des Musikstils
liegen in weltlichen
Melodien, populären
Tänzen, jüdischem
‚Chasanut’
(Kantorengesang) und auch
‚Niggunim’,
Melodien ohne Text,
vorgetragen von
den‚Chassidimâ€
(orthodoxen Juden).
Seit dem 16. Jahrhundert
wurden die
Klezmermelodien mit
Texten versehen, was auf
die
‚Badchan’
(Zeremonienmeister bei
Hochzeiten), auf das
‚Purimshpil’
(Das Esther-Spiel zum
Purimfest) und
aufTraditionen des
jiddischen Theaters
zurückgeht. Der
Begriff Klezmer wurde
jedoch mit der Zeit
gleichbedeutend mit
Instrumentalmusik, im
Besonderen mit den
Instrumenten Violine und
Klarinette. Die Melodie
von Hava Nagila
ist eine Adaption
einesVolkstanzes aus der
rumänischen Bukowina.
Der üblicherweise
verwendete Text stammt
aus Psalm 118 der
hebräischen Bibel.
Hava Nagila Ensemble de cuivres [Conducteur] - Facile Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-396-130 Arranged by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-396-130
Arranged by Philip
Sparke. Anglo Music
Midway Series. Original
Light Music. Score Only.
Composed 2013. 24 pages.
Anglo Music Press #AMP
396-130. Published by
Anglo Music Press
(BT.AMP-396-130).
9x12
inches.
English-German-French-Dut
ch.
Hava
Nagila (the title
means ‘let us
rejoice’) is
perhaps the best known
example of a style of
Jewish music called
‘klezmer’.
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.‘Klezmerâ€
is a Yiddish term
combining the Hebrew
words ‘kley’
(instrument) and
‘zemer’
(song) and 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).Since the
16th century, lyrics
hadbeen added to klezmer
music, due to the
‘badkhn’
(the master of ceremony
at weddings), to the
‘Purimshpil’
(the play of Esther at
Purim) and to traditions
of the Yiddish theatre,
but the term gradually
became synonymous with
instrumental music,
particularly featuring
the violin and clarinet.
The melody of Hava
Nagila was adapted
from a folk dance from
the Romanian district of
Bucovina. The commonly
used text is taken from
Psalm 118 of the Hebrew
bible.
Hava
Nagila (de titel
betekent ‘laat ons
gelukkig zijn’) is
misschien wel het
bekendste voorbeeld van
klezmer, een Joodse
muziekstijl.De
klezmermuziek komt van
oorsprong uit de sjtetls
(dorpen) en de
getto’s van
Oost-Europa, waar
rondtrekkende Joodse
troubadours, bekend als
klezmorim, al sinds de
middeleeuwen hadden
opgetreden bij
feestelijkheden, en dan
met name
bruiloften.Klezmer is een
Jiddische term waarin de
Hebreeuwse woorden kley
(instrument) en zemer
(lied) zijn samengevoegd.
De wortels van de stijl
liggen in wereldlijke
melodieën,
volksdansen, de
joods-liturgische hazanut
en ook de nigunim, de
woordeloze melodieën
zoals die worden
voorgedragen
doorchassidische
(orthodoxe) joden.Sinds
de 16e eeuw zijn er aan
de klezmermuziek ook
teksten toegevoegd,
dankzij de badchen (de
ceremoniemeester bij
huwelijken), het
poerimspel (het verhaal
van Esther tijdens
Poerim/het Lotenfeest) en
tradities binnen het
Jiddische theater, maar
de term werd geleidelijk
synoniem aan
instrumentale muziek met
een hoofdrol voor de
viool en klarinet.De
melodie van Hava
Nagila is afkomstig
van een volksdans uit de
Roemeense regio
Boekovina. De meest
gebruikte tekst voor het
lied kom uit psalm 118
van de Hebreeuwse Bijbel.
Hava
Nagila (auf Deutsch
‚Lasst uns
glücklich
sein’) ist
vielleicht das
bekannteste Beispiel
für den jüdischen
Musikstil namens
‚Klezmer’.
Klezmermusik hat ihren
Ursprung in den
Shtetls“
(Städtchen) und den
Ghettos Osteuropas,
woumherziehende
jüdische Troubadours,
die man
‚Klezmorim’
nannte, schon seit dem
frühen Mittelalter auf
Feiern, vor allem
Hochzeiten, zu spielen
pflegten. Klezmer ist ein
jiddischer Begriff, der
sich aus den
hebräischen Wörtern
‚kley’(Instr
ument) und
‚zemer’
(Lied) zusammensetzt. Die
Wurzeln des Musikstils
liegen in weltlichen
Melodien, populären
Tänzen, jüdischem
‚Chasanut’
(Kantorengesang) und auch
‚Niggunim’,
Melodien ohne Text,
vorgetragen von
den‚Chassidimâ€
(orthodoxen Juden).
Seit dem 16. Jahrhundert
wurden die
Klezmermelodien mit
Texten versehen, was auf
die
‚Badchan’
(Zeremonienmeister bei
Hochzeiten), auf das
‚Purimshpil’
(Das Esther-Spiel zum
Purimfest) und
aufTraditionen des
jiddischen Theaters
zurückgeht. Der
Begriff Klezmer wurde
jedoch mit der Zeit
gleichbedeutend mit
Instrumentalmusik, im
Besonderen mit den
Instrumenten Violine und
Klarinette. Die Melodie
von Hava Nagila
ist eine Adaption
einesVolkstanzes aus der
rumänischen Bukowina.
Der üblicherweise
verwendete Text stammt
aus Psalm 118 der
hebräischen Bibel.
Piano Accompaniment; Violin (Score and Solo Part) SKU: HL.14048195 For...(+)
Piano Accompaniment;
Violin (Score and Solo
Part)
SKU:
HL.14048195
For
Violin and Piano
Accompaniment.
Composed by Franz Lehar.
Arranged by Esther
Bobrova Lange. Music
Sales America. Classical.
Softcover. 28 pages.
Edition Wilhelm Hansen
#WH32875. Published by
Edition Wilhelm Hansen
(HL.14048195).
ISBN
9788759838525.
8.0x12.0x0.108
inches.
3 Pieces
from Franz Lehar's
operetta Die Lustige
Witwe/The Merry Widow.
Arranged for Violin and
Piano by conductor Esther
Bobrova Lange. These
arrangements are based
upon the song texts of
the operetta and the
character of the music.
The famous melodies are
equally balanced between
violin and piano.
Further, I have enlarged
the arrangements with
both rhythmical and
melodious variations in
the style of Franz Lehar.
The bowing in the violin
part is written by Arne
Balk-Moeller, associate
violin professor at the
Southern Danish National
Academy of Music, who
also took into
consideration the text
and the music of the
operetta. The nuances and
articulations in both
violin and piano are
written according to the
original vocal score.
(Esther Bobrova
Lange).
3-7 octave handbell choir with optional guitar, bass, synthesizer and drums - Le...(+)
3-7 octave handbell choir
with optional guitar,
bass, synthesizer and
drums - Level 3
SKU:
HP.2654R
Composed by
Esther Dean, Katy Perry,
Mikkel Eriksen, Sandy
Wilhelm, and Tor Erik
Hermansen. Arranged by
Michael Glasgow.
Contemporary, Pop,
Secular, General Worship.
Rhythm parts. 11 pages.
Hope Publishing Company
#2654R. Published by Hope
Publishing Company
(HP.2654R).
UPC:
763628226541. By Mikkel
Eriksen, Tor Erik
Hermansen, Esther Dean,
Sandy Wilhelm & Katy
Perry.
Pop song by
Mikkel Eriksen,
Tor Erik
Hermansen, Esther
Dean, Sandy
Wilhelm & Katy
Perry Katy
Perry's record-breaking,
Grammy-nominated song of
encouraging affirmation
is given an accessible
and fun treatment for
bells and chimes by
Michael Glasgow. Optional
Rhythm Parts for Guitar,
Bass, Synth and Drums
support the bells and
capture the familiar
hooks of this pop
sensation - a terrific
choice for concerts,
special events, and
festivals (especially
youth festivals!).
Choral Children's choir, Piano SKU: PR.312419290 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419290
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes, 35 seconds.
Theodore Presser Company
#312-41929. Published by
Theodore Presser Company
(PR.312419290).
ISBN
9781491137932. UPC:
680160692620. Texts from
The King James Bible,
creation myths from
India, North America, and
Egypt; Edna St. Vincent
Millay, Percy Bysshe
Shelley, Walt Whitman,
Lord Byron, Esther
Iverem, William
Wordsworth, Wendell
Berry, Lord Alfred
Tennyson, Charles Mackay,
William .
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Piano solo SKU: FZ.5874 Japonese version. Composed by Frederic Cho...(+)
Piano solo
SKU:
FZ.5874
Japonese
version. Composed by
Frederic Chopin. Edited
by Alex Szilasi. This
edition: Facsimile.
Esther - Collection
Romantique. Score.
Published by Anne Fuzeau
Productions - France
(FZ.5874).
ISBN
9790230658744. 24.00 x
33.00 cm
inches.
This
facsimile of an original
by Frederic Chopin is
part of our Esther
collection. Romantic
works for piano. Episode
2 : Frederic CHOPIN par
Alex SZILASI - 16 pages.
3 Nouvelles etudes
composees pour la Methode
des Methodes de F. J.
FETIS et J. MOSCHELES. 12
pages. Alex SZILASI
introduces the different
stages of the Frederic
CHOPIN life and give an
insight into the most
important moments of the
birth and evolution of
Romanticisme. Two books
in a folder. French
version : ref. 5871.
English version : ref.
5872. German version :
ref. 5873. Anne Fuzeau
Classique propose period
copies of classical music
scores.
Piano solo SKU: FZ.5872 English version. Composed by Frederic Chop...(+)
Piano solo
SKU:
FZ.5872
English
version. Composed by
Frederic Chopin. Edited
by Alex Szilasi. This
edition: Facsimile.
Esther - Collection
Romantique. Score.
Published by Anne Fuzeau
Productions - France
(FZ.5872).
ISBN
9790230658720. 24.00 x
33.00 cm
inches.
This
facsimile of an original
by Frederic Chopin is
part of our Esther
collection. Romantic
works for piano. Episode
2 : Frederic CHOPIN par
Alex SZILASI - 16 pages.
3 Nouvelles etudes
composees pour la Methode
des Methodes de F. J.
FETIS et J. MOSCHELES. 12
pages. Alex SZILASI
introduces the different
stages of the Frederic
CHOPIN life and give an
insight into the most
important moments of the
birth and evolution of
Romanticisme. Two books
in a folder. French
version : ref. 5871.
German version : ref.
5873. Japanese version :
ref. 5874. Anne Fuzeau
Classique propose period
copies of classical music
scores.
Piano Duet SKU: HL.14029266 Composed by Cyril Scott. Arranged by Esther F...(+)
Piano Duet
SKU:
HL.14029266
Composed
by Cyril Scott. Arranged
by Esther Fisher. Music
Sales America. Classical.
Book [Softcover]. 12
pages. Music Sales
#NOV263714. Published by
Music Sales
(HL.14029266).
8.25x11.75x0.06
inches.
Danse Negre is a
lively little piece with
a performance time of
approximately 2 minutes.
Composed in 1908, it was
originally scored for
solo Piano, but it has
been arranged here for
Piano Duet by Esther
Fisher. It is the
perfect piece for any
pair of pianists looking
for their first duet to
perform.
Cyril
Scott (1879-1970)
was a British composer,
pianist and poet. His
most popular works, which
he is largely remembered
by today, were written in
the years preceding the
Second World War, however
he continued to compose
prolifically, in the face
of indifference from the
outside world, right up
until his death at the
age of 91. His musicis
predominantly in the
Romantic style, and
serves as a tasteful
reminder of a bygone age.
Opera Piano, solo Voices SKU: PR.411411630 Opera in Two Acts. Comp...(+)
Opera Piano, solo Voices
SKU: PR.411411630
Opera in Two Acts.
Composed by Ricky Ian
Gordon. Piano Reduction
Score. 438 pages.
Duration 2 minutes, 30
seconds. Theodore Presser
Company #411-41163.
Published by Theodore
Presser Company
(PR.411411630).
ISBN
9781491137635. UPC:
680160691081. English.
Intimate Apparel by Lynn
Nottage.
Originally
an award-winning play,
Lynn Nottage’s INTIMATE
APPAREL was inspired by
her great-grandmother’s
life in New York in the
early 20th century. The
Pulitzer-laureate also
created the libretto for
Ricky Ian Gordon’s
grand-yet-intimate opera
whose complete
instrumentation is two
pianos. The story follows
the life of a young,
single seamstress who has
recently emigrated from
Barbados, the fascinating
cast of characters in her
life, and her
socially-unacceptable
feelings of affection for
a Jewish fabric salesman.
The premiere production
of this 2½-hour drama
was televised nationally
from Lincoln Center on
PBS’s “Great
Performances.”. Inti
mate Apparel began with
an old photograph that I
found haphazardly wedged
between the pages of a
Family Circle magazine. I
was helping my
grandmother, who’d
developed debilitating
senile dementia, move
from her longtime home in
Crown Heights, Brooklyn.
In the midst of a pile of
weathered magazines I
discovered a black and
white passport photograph
of my grandmother Waple
and her younger sister
Eurita sitting on their
mother’s lap. It was
the first time I’d ever
seen an image of my
great-grandmother Ethel,
a striking woman with
high West African
cheekbones and a gentle
intensity. She had been a
seamstress from Barbados,
who at the age of 18
arrived alone in New York
City at the dawn of the
Twentieth Century. The
image invited a thousand
questions, none that
could be answered by the
living, and it led me on
a journey to piece
together the history of
my great-grandmother
Ethel, a woman who was
basically a stranger to
me. The only clue that I
had about Ethel, was a
story that my grandmother
had once told me about
her mother corresponding
with a man laboring on
the Panama Canal, who
would eventually become
her husband. I was
fascinated by this story,
which served as the
inspiration for INTIMATE
APPAREL.As I began my
research for INTIMATE
APPAREL at the New York
Public Library, I
discovered that lives of
Black working women in
the early 1900s were
woefully absent from the
archive. So, I found
myself perusing help
wanted listings, boarding
house and clothing
advertisements, looking
for any sign of women
like my great-grandmother
on the printed page. As I
was doing so, I began to
find the characters that
would populate the world
of INTIMATE APPAREL;
Esther the lonely
seamstress, Mrs. Dickson
the proprietress of the
boardinghouse for Black
women, Mr. Marks the
Jewish fabric salesman on
the Lower Eastside, Mrs.
Van Buren the wealthy
white socialite on the
Upper Eastside, Mayme the
sex worker in the
tenderloin, and George
the laborer toiling on
the Panama Canal. As I
was conjuring the
characters, I realized
that I was interested in
the unexpected
intersections between
class, race, and gender
at the turn of the
Twentieth Century, and
what happens when people
across cultural and
economic divides are
thrust into spaces of
intimacy.INTIMATE APPAREL
began its life as a
popular play, but it was
the brilliant composer
Ricky Ian Gordon who
invited me to consider
adapting it into an
opera. He saw something
epic and expansive in the
life of Esther that he
felt demanded to be sung,
and with his loving
guidance I was able to
write my first libretto.
It took me several tries
to figure out how to
wrestle my play into a
form that was new to me.
As a playwright, I kept
wanting to maintain
absolute control of the
narrative. But, it was
Ricky’s words that
freed me creatively to
find my way into the
libretto. He said,
“You’re not trusting
my music as a narrative
tool; I can say “I love
you” without any words,
with just music. So,
allow me to be your
collaborator on the
storytelling.” And once
he said that, we found
INTIMATE APPAREL the
opera together.
Clarinet & Drumset SKU: SU.21000213 For Clarinet & Drumset. Compos...(+)
Clarinet & Drumset
SKU: SU.21000213
For Clarinet &
Drumset. Composed by
Patrick Hardish.
Woodwinds, Clarinet,
Percussion, Percussion.
Accompanied by
percussion, Drum Set.
Performance Score.
Calabrese Brothers Music,
LLC #21000213. Published
by Calabrese Brothers
Music, LLC (SU.21000213).
UPC:
820821003284.
Jazz
Sonorities (2002) was
composed for Esther
Lamneck at her request
and premiered by her and
Barbara Allen on drums at
the Loewe Theater of New
York University on May
30, 2002. Ms. Lamneck
asked me to compose a
piece for either solo
clarinet or clarinet and
piano. I decided on the
former to continue my
Sonorities series of
works for solo
instruments which
eventually resulted in
Sonorities VII for solo
b-flat clarinet
(2003-04). However,
shortly after getting
started with my
Sonorities VII I kept
hearing the swinging
sounds of a jazz clarinet
backed up by a jazz drum
set. Part of the reason I
kept hearing these sounds
is that I grew up
listening to the big
swing bands of such
clarinet leaders as Benny
Goodman, Artie Shaw,
Woody Herman, and Jimmy
Dorsey. These musicians
were my first exposure to
the clarinet. So I
decided to first compose
a piece for clarinet with
a jazz quality and a
swinging partly ad lib
part for the drums and to
put my solo clarinet
piece for Esther on hold
for a year. There was
also a personal reason to
use the drums in the
piece. My first ambition
in music was to be a jazz
drummer and indeed I
studied drums with a jazz
drummer and played drums
professionally in dance
bands for several years.
Ms. Lamneck's part in
this piece is almost
entiirely written out
except for a few measures
of improvisation around
the middle of the piece.
The jazz quality of her
part comes mostly in the
prasing and using bluesy
like pitch bends, slides,
and microtones. The jazz
quality of the drum set
part is in the swinging
beat that is used
throughout most of the
piece. The influence of
the famous recording of
Sing Sing Sing, with a
swing by Benny Goodman &
his orchestra in 1937
featuring Gene Krupa on
drums is heard in the
middle section when the
drummer switches to a
beat on the floor tom and
high tom for several
measures. Also, the Afro
Cuban section toward the
end of the piece was
influenced by the many
recordings of Stan Kenton
& his orchestra
particularly the 1950
Pete Rugolo arrangement
of Cole Porter's Love for
Sale. In the drum solo of
the Afro Cuban section
which is near the end can
use optional claves
and/or maracas (1-2
additional players). At
the premiere the composer
joined in this section on
maracas. The drum set
calls for a bass drum,
floor tom, snare drum,
high tom, ride cymbal,
sizzle cymbal, and
hi-hat. --Patrick
Hardish.
Walzer, Galoppe,
Landler, Polkas (op.
1-142) in erleichterter
Bearbeitung. Composed
by Joseph Lanner.
Arranged by Michael
Publig. Keyboard music.
Doblinger Music
Publishers #01-00275.
Published by Doblinger
Music Publishers
(DB.01-00275).
ISBN
9790012187240.
Die
vorliegende Ausgabe
bietet eine
reprasentative Auswahl in
erleichterter Bearbeitung
aus dem Gesamtwerk eines
unvergesslichen Wiener
Meisters. Op. 1. Neue
Wiener Landler - Op. 9.
Dornbacher Landler -
Op.44/1. Bruder, lauf -
Op. 87. Komet-Walzer -
Op.93. Pesther-Walzer -
Op.103. Die Werber -
Op.124. Die Alpler -
Op.128. Die Kosenden -
Op.128. - Op. 134.
Regata-Galopp - Op.142a.
Toubillon-Galoppe.
Violin & Orchestra SKU: SU.94010610 For Violin & Orchestra. Compos...(+)
Violin & Orchestra
SKU: SU.94010610
For Violin &
Orchestra. Composed
by James Lee III.
Strings, Violin,
Orchestra. Concerto.
Study Score. Subito Music
Corporation #94010610.
Published by Subito Music
Corporation
(SU.94010610).
Instrumentation
: solo vn; 2222; 2200;
timp, 2 perc, hp;
stgs Duration:
30' Composed: 2018
Published by: Subito
Music Publishing
Performance materials
available on rental only
from the Subito Music
Rental Library.
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?