| Flowers in Winter Chorale 3 parties SSA Hal Leonard
Choral (SSA Choir) SKU: HL.126032 Composed by John Purifoy. Festival Chor...(+)
Choral (SSA Choir)
SKU: HL.126032
Composed by John Purifoy.
Festival Choral. Concert.
Octavo. 8 pages.
Published by Hal Leonard
(HL.126032). UPC:
884088994075. 6.75x10.5
inches. This
original work with text
from a poem by John
Greenleaf Whittier
creates a sense of awe as
we visualize a flower in
the midst of the frozen
landscape of winter.
Singers will be
challenged to shape
phrases artfully and
blend chords for a rich
concert expression. $1.90 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Song for Sarajevo Chorale 3 parties SSA Hal Leonard
Choral (SSA Choir) SKU: HL.222699 By Judy Collins. By Judy Collins. Arran...(+)
Choral (SSA Choir)
SKU: HL.222699 By
Judy Collins. By Judy
Collins. Arranged by
Audrey Snyder.
Contemporary Choral.
Children'S Choir,
Concert, Female Voices,
Festival. Octavo.
Duration 290 seconds.
Published by Hal Leonard
(HL.222699). UPC:
888680671303.
6.75x10.5x0.029
inches. This song
by Judy Collins from 1994
was written for the
children of the Bosnian
War of the 1990s, but has
continuing meaning for
today's children of
conflict. I dream of
Peace, I dream of flowers
on the hill, I dream I
see my mother smiling,
When I close my eyes I
dream of Peace.. $2.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| How the Flowers Came Chorale 3 parties SSA, Piano [Octavo] Alliance Music Publications
By Eleanor Daley. For SSA choir, piano. Octavo. Published by Alliance Music Publ...(+)
By Eleanor Daley. For SSA
choir, piano. Octavo.
Published by Alliance
Music Publications
$1.90 $1.805 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Why I Pity the Woman Who Never Spills Chorale SSAA SSAA A Cappella - Avancé Seafarer Press
By Elizabeth Alexander. Text: Joan Wolf Prefontaine. For Women's Choir (SSAA) a ...(+)
By Elizabeth Alexander.
Text: Joan Wolf
Prefontaine. For Women's
Choir (SSAA) a cappella.
(SSAA). Level:
medium-difficult.
Duration 5 minutes.
Published by Seafarer
Press.
$4.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Four Basho Settings Chorale SSAA SSAA Schirmer
| | |
| There Is No Rose Chorale 3 parties SSA Carl Fischer
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir SKU:
CF.CM9580 Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol. The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. $1.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| With Flowers Blooming Chorale 3 parties SSA Theodore Presser Co.
Choral SSA choir SKU: PR.312418600 Fors.S.A. Chorus, A Cappella. C...(+)
Choral SSA choir SKU:
PR.312418600
Fors.S.A. Chorus, A
Cappella. Composed by
Chen Yi. Premiere: Calvin
Women's Chorale,
conducted by Pearl
Shangkuan, Calvin
College, Grand Rapids,
MI. Contemporary.
Performance Score. With
Standard notation.
Composed 2010. 12 pages.
Duration 4 minutes.
Theodore Presser Company
#312-41860. Published by
Theodore Presser Company
(PR.312418600). ISBN
9781598063769. UPC:
680160596300. Octavo
inches. Chinese. Text: Du
Fu. Du Fu. Text by Du Fu
(Tang Dynasty), from the
poem 'Happy Rain on a
Spring
Night'. Commissione
d by Calvin Women's
Chorale, Dr. Pearl
Shangkuan, conductor, of
Calvin College in Grand
Rapids, Michigan, this
piece was premiered on
April 29th, 2011. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| ARKA - 3 Rituale (Full Score) Voix basse, Piano [Conducteur] 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 | | |
| Stay Chorale 3 parties SSA, Piano [Octavo] Alfred Publishing
Choir Secular. Women's Choir. Choral Octavo. Choral Designs. 8 pages. Published ...(+)
Choir Secular. Women's
Choir. Choral Octavo.
Choral Designs. 8 pages.
Published by Alfred Music
$1.80 $1.71 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On Music Carl Fischer
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute SKU:
CF.CM9583 Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852). Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852)
was an Irish poet,
singer, songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music
– Thomas MooreWhen
through life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with
balm the gale sighs
on,Though the flowers
have sunk in death;So,
when pleasure’s
dream is gone,Its memory
lives in Music’s
breath.Music, oh, how
faint, how weak,Language
fades before thy
spell!Why should Feeling
ever speak,When thou
canst breathe her soul so
well?Friendship’s
balmy words may
feign,Love’s are
even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Second Set of Madrigals (Made to order) Chorale SATB Stainer and Bell
SATB choir SKU: ST.EM26 Composed by Francis Pilkington. Edited by Edmund ...(+)
SATB choir SKU:
ST.EM26 Composed by
Francis Pilkington.
Edited by Edmund H
Fellowes. Library
Volumes. Edited Edmund
Fellowes. Revised
Thurston Dart. Note:
Print on demand.
Spiral-bound A4.
Madrigals. Choral Score.
Stainer & Bell Ltd.
#EM26. Published by
Stainer & Bell Ltd.
(ST.EM26). ISBN
9790220212598. CONT
ENTS Care for thy
soul (SSATB) Chaste
Daphne fled (SST (or A)
B) Chaste Syrinx fled
(SSA (or T) TB) Come
shepherds' weeds (SSA (or
T) TB) Coy Daphne
fled (SST (or A) B)
Crowned with flowers
(SSAAB) Cruel
Pabrilla (SSAT (or A)
TB) Dear shepherdess
(SSAATB) Drown not
with tears (SSATB)
Fancy for the Viols
(SSAATB and Viol
Sextet) Go, you
skipping kids and fawns
(SSATB) If she
neglect me (SSA (or T)
B) Maenalas in an
evening (SSAB) O
gracious God (SSATB)
O praise the Lord
(SSATTB) O
softly-singing lute
(SSAATB) Palaemon and
his Sylvia (SSTB)
Sovereign of my delight
(SST) Stay, heart,
run not so fast (SST)
Surcrease, you faithful
shepherdess (SSATB/Viol
quintet/Lute) Wake,
sleepy Thyrsis (SST)
Weep, sad Urania (SS and
string accompt.) Ye
bubbling springs
(SST) Yond hilltops
Phoebus kissed (SST)
You gentle Nymphs (SSA
(or T) B) Your fond
preferments (SST). $94.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flowers Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.50748 Recorded by...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.50748
Recorded by Miley
Cyrus. Composed by
Gregory Aldae Hein,
Michael Pollack, and
Miley Cyrus. Arranged by
Alan Billingsley.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-50748.
Published by Alfred Music
(AP.50748). UPC:
038081580623.
English. I can buy
myself flowers, I can
hold my own hand. This
Miley Cyrus dance-pop
tune broke Spotify's
record with over 100
million plays in its very
first week, catapulting
the funky track to the
top of the Billboard Hot
100. With an empowering
message of self-reliance,
this streaming sensation
is sure to strike a
chord. Three no-fuss
voicings, a small combo
SoundPax, and a
disco-toned SoundTrax
complete the bouquet.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flowers Alfred Publishing
Choir Secular (Women's Choir) SKU: AP.50749 Recorded by Miley Cyrus(+)
Choir Secular (Women's
Choir) SKU:
AP.50749 Recorded
by Miley Cyrus.
Composed by Gregory Aldae
Hein, Michael Pollack,
and Miley Cyrus. Arranged
by Alan Billingsley.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-50749.
Published by Alfred Music
(AP.50749). UPC:
038081580630.
English. I can buy
myself flowers, I can
hold my own hand. This
Miley Cyrus dance-pop
tune broke Spotify's
record with over 100
million plays in its very
first week, catapulting
the funky track to the
top of the Billboard Hot
100. With an empowering
message of self-reliance,
this streaming sensation
is sure to strike a
chord. Three no-fuss
voicings, a small combo
SoundPax, and a
disco-toned SoundTrax
complete the bouquet.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flowers Chorale SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.50747 Recorded by Miley Cyrus. ...(+)
Choir Secular (SATB
choir) SKU:
AP.50747 Recorded
by Miley Cyrus.
Composed by Gregory Aldae
Hein, Michael Pollack,
and Miley Cyrus. Arranged
by Alan Billingsley.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-50747.
Published by Alfred Music
(AP.50747). UPC:
038081580616.
English. I can buy
myself flowers, I can
hold my own hand. This
Miley Cyrus dance-pop
tune broke Spotify's
record with over 100
million plays in its very
first week, catapulting
the funky track to the
top of the Billboard Hot
100. With an empowering
message of self-reliance,
this streaming sensation
is sure to strike a
chord. Three no-fuss
voicings, a small combo
SoundPax, and a
disco-toned SoundTrax
complete the bouquet.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Madrigals for Four Voices (1599) Chorale SATB Stainer and Bell
SATB choir SKU: ST.EM8 Composed by John Farmer. Edited by Edmund H Fellow...(+)
SATB choir SKU:
ST.EM8 Composed by
John Farmer. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Davitt Moroney. Note:
Print on demand.
Spiral-bound A4.
Madrigals. Choral Score.
Stainer & Bell Ltd. #EM8.
Published by Stainer &
Bell Ltd. (ST.EM8).
ISBN
9790220206320. Well
-known in his day as one
of the most important
contributors to East's
Whole Book of
Psalms (1592),
Farmer was in the service
of the Earl of Oxford
who, more than any other
nobleman, established the
professional Elizabethan
theatre. In the year that
Burbidge opened the Globe
Theatre, these 18
madrigals (the most
famous is probably
Fair Phyllis)
gave the composer an
attractive place in the
history of English
music.
CONTENTS A little
pretty bonny lass
(SATB) Cease now thy
mourning (SAT(or A) B (or
T)) Compare me to the
child (SAT(or A) B)
Fair nymphs, I heard one
telling (SSAT(or A)
TB) Fair Phyliss, I
saw (SATB) I thought,
my love (SATB) Now
each creature joys the
other (SATB) O stay
sweet love (SATB)
Soon as the hungry lion
(SATB) Sweet friend,
thy absence (SAT(or A)
B) Sweet Lord, your
flame still burning
(SATB) Take time
while time doth last
(SATB) The flattering
words (SATB) Who
would have thought that
face? (SAAT) You
blessed bowers
(SSATTTBB) You'll
never leave still tossing
(SATB) You pretty
flowers that smile
(SAT(or A) B. $72.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Flowers [Set de Parties séparées] Alfred Publishing
Choir Secular SKU: AP.50751 Recorded by Miley Cyrus. Composed by G...(+)
Choir Secular SKU:
AP.50751 Recorded
by Miley Cyrus.
Composed by Gregory Aldae
Hein, Michael Pollack,
and Miley Cyrus. Arranged
by Alan Billingsley. This
edition: SoundPax. Choral
Octavo; Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Part(s). Alfred Music
#00-50751. Published by
Alfred Music (AP.50751).
UPC: 038081580654.
English. I can buy
myself flowers, I can
hold my own hand. This
Miley Cyrus dance-pop
tune broke Spotify's
record with over 100
million plays in its very
first week, catapulting
the funky track to the
top of the Billboard Hot
100. With an empowering
message of self-reliance,
this streaming sensation
is sure to strike a
chord. Three no-fuss
voicings, a small combo
SoundPax, and a
disco-toned SoundTrax
complete the bouquet.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flowers CD Chorale Alfred Publishing
Choir Secular SKU: AP.50750 Recorded by Miley Cyrus. Composed by G...(+)
Choir Secular SKU:
AP.50750 Recorded
by Miley Cyrus.
Composed by Gregory Aldae
Hein, Michael Pollack,
and Miley Cyrus. Arranged
by Alan Billingsley. This
edition: SoundTrax CD.
Choral Octavo;
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular. CD.
Alfred Music #00-50750.
Published by Alfred Music
(AP.50750). UPC:
038081580647.
English. I can buy
myself flowers, I can
hold my own hand. This
Miley Cyrus dance-pop
tune broke Spotify's
record with over 100
million plays in its very
first week, catapulting
the funky track to the
top of the Billboard Hot
100. With an empowering
message of self-reliance,
this streaming sensation
is sure to strike a
chord. Three no-fuss
voicings, a small combo
SoundPax, and a
disco-toned SoundTrax
complete the bouquet.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Where Do the Stars Come From? Boosey and Hawkes
Baritone; Female Voices; Piano Accompaniment; Soprano (SSAA Choir) SKU: HL.48...(+)
Baritone; Female Voices;
Piano Accompaniment;
Soprano (SSAA Choir)
SKU: HL.48025388
Legend for soprano &
baritone soli, SSAA &
piano. Composed by
Leokadiya Kashperova. BH
Large Choral. Classical,
Romantic, Vocal.
Softcover. 40 pages.
Duration 660 seconds.
Boosey & Hawkes
#M060140358. Published by
Boosey & Hawkes
(HL.48025388). UPC:
196288195405.
9.0x12.0x0.227
inches. Leokadiya
Kashperova
(1872–1940),
hitherto consigned to a
footnote in musical
history as Stravinsky's
piano teacher, is
undergoing rediscovery. A
double graduate of the St
Petersburg Conservatoire,
she emerged as a virtuoso
pianist and composer in
the romantic tradition.
She was associated with
some of the great
musicians of her day,
including Balakirev and
Auer. She performed in
both Germany and the UK
in the 1900s, but her
career petered out after
1920. Following her
graduation from the St
Petersburg Conservatoire
Kashperova became
personally acquainted
with the poet Yakov
Polonsky and often
attended his literary
gatherings. When he died
in 1898 Kashperova
responded by setting his
enchanting and mystical
'legend' To a Child in
Answer to the Question:
Where Do the Stars Come
From? The baritone
soloist takes the role of
the father or grandfather
who endeavours to answer
the riddle posed in the
title. He decides to
relate 'a tale of old, an
Eastern legend' which
recounts how, long ago,
the flowers would weep,
so afraid were they of
the dark. In response an
archangel (soprano solo)
descends to Earth and is
so moved by the
flowersÂ’ anguished
appeal, she gathers 'all
their tears in chalice
gold / And bears them up
to God in Heav'n above'.
The baritone narrates the
final scene as the
Almighty casts the tears
across the firmament,
thus creating the
constellations. The
childÂ’s question is
answered, and the
peaceful domesticity of
the opening scene
returns. $24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Madrigals to Five Voices (1601) Chorale SATB Stainer and Bell
SATB choir SKU: ST.EM27 Composed by Richard Carlton. Edited by Edmund H F...(+)
SATB choir SKU:
ST.EM27 Composed by
Richard Carlton. Edited
by Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Choral Score.
Stainer & Bell Ltd.
#EM27. Published by
Stainer & Bell Ltd.
(ST.EM27). ISBN
9790220203428. A
minor canon of Norwich
Cathedral, Carlton
belonged also to the
older generation of
madrigal composers,
particularly fond of the
'Byrd' or English cadence
of flat versus sharp
leading-notes. Although
he claims to have
laboured 'somewhat to
imitate the Italian
style', he admitted in
his preface, 'I cannot
forget that I am an
English man.'
CONTENTS All
creatures then
(SSATB) Calm was the
air (SSAT (or A) B)
Content thyself with thy
estate (SAATB) Even
as the flowers do wither
(SSATB) From stately
tower (SSATB) If
women can be courteous
(SSATB) Let every
sharp (SSATB) Like as
the gentle heart
(SSATB) Nought is on
earth (SSATB) Nought
under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes
(SSATB) So whilom
learned (SSATB) The
heathen Gods for love (SA
(or T) A (or T) BB)
The love of change
(SSATB) The self-same
things (SS (or A)
ATB) The witless boy
(SSATB) When Flora
fair (SSATB) Who
seeks to captivate
(SAATB) Who vows
devotion (SSATB) With
her sweet locks
(SSATB) Ye gentle
ladies (SSATB). $47.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Canzonets to Three Voices 1608 (Made to order) Chorale SATB Stainer and Bell
SATB choir SKU: ST.EM28 Composed by Henry Youll. Edited by Edmund H Fello...(+)
SATB choir SKU:
ST.EM28 Composed by
Henry Youll. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Note:
Print on demand.
Spiral-bound A4.
Madrigals. Collection.
Stainer & Bell Ltd.
#EM28. Published by
Stainer & Bell Ltd.
(ST.EM28). ISBN
9790220218798. CONT
ENTS Awake, sweet
love (SSA (or T)) But
behold where they return
(SST) But though poor
sheep (SST) Cease,
restless thoughts
(SST) Come, love,
let's walk (SSA (or
T)) Come, merry lads,
let us away (SSA)
Each day of thine
(SST) Early before
the day doth spring
(SSA) In the merry
month of May (SSA) In
pleasant summer's morning
(SST) In yonder dale
(SST (or A)) Now the
country lasses hie them
(SSB (or T)) Of sweet
and dainty flowers
(SAT) Once I thought
to die for love (SST)
Only joy, now here you
are (SST) Pipe,
shepherds, pipe (SSB (or
T)) Pity me, mine own
sweet jewel (SST)
Say, shepherd, say
(SST) See where this
nymph (SSA (or T))
Slow, slow, fresh fount
(SST) Sweet Phyllis,
stay (SST) The
shepherd's daughters
(SST) Where are now
those jolly swains?
(SSB) Whiles joyful
springtime lasteth
(SST). $72.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Blessèd, How Blessèd - Débutant MorningStar Music Publishers
2-part mixed choir (with descant) and organ - Beginning SKU: MN.50-6199 C...(+)
2-part mixed choir (with
descant) and organ -
Beginning SKU:
MN.50-6199 Composed
by David M. Cherwien.
21st Century,
Community/Fellowship,
Justice/Peace/Social
Concerns, Love.
Instrumental part.
MorningStar Music
Publishers #50-6199.
Published by MorningStar
Music Publishers
(MN.50-6199). UPC:
688670561993.
English. The
Scottish lament tune
Flowers of the Forest is
paired with a new text by
Susan Palo Cherwien in
this stately anthem for
two part mixed choir and
organ. The text echos a
beatitudes motif, as the
title indicates. The
music's simplicity belies
(or perhaps contributes
to) the power of its
timeless message of hope
and comfort. Duration
3:00. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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