Par . A beginning fake book for players new to faking! This great collection contains over 100 favorite gospel songs all in the key of C. Each song features lyrics and simplified chords that remain true to each original tune, withlarge, easy-to-read music notation. Includes: Amazing Grace · At Calvary · Because He Lives · Blessed Assurance · Church in the Wildwood · Do Lord · Give Me That Old Time Religion · He Touched Me · Higher Ground · His Eye Is onthe Sparrow · His Name Is Wonderful · How Great Thou Art · I Bowed on My Knees and Cried Holy · I Saw the Light · I'll Fly Away · In the Garden · Just a Closer Walk with Thee · Mansion over the Hilltop · More Than Wonderful · TheOld Rugged Cross · Precious Lord, Take My Hand · Precious Memories · Put Your Hand in the Hand · Rock of Ages · Shall We Gather at the River' · Sweet By and By · Turn Your Radio On · Upon This Rock · When the Roll Is Called UpYonder · Whispering Hope · Will the Circle Be Unbroken · Wings of a Dove · and dozens more! / Date parution : 2022-02-15/ Recueil / Mélodie, Paroles et Accords

45 Classic Hymns for Churches, Schools & Choirs. A wonderful collection of the most popular traditional hymns in a handy 10 x 7 inch format. Ideal for Churches, Schools and Choirs making an ideal resource. / Songbooks / Recueil / Voix et Piano

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Livre / Livre

Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY FELIX. (replaces BA 9050-90) Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Orchestre

Par KING ROBERT / RUTTER JOHN. Oxford Choral Classics: anglais Church Music rassemble en deux volumes d'environ 100 des plus beaux exemples de l'anglais la musique chorale sacrée des cinq derniers siècles. Le premier volume, consacré aux hymnes et motets, présente à la fois favoris et des Oeuvres moins connues, de la polyphonie de la Renaissance exceptionnelle Taverner, Tallis, Byrd et, à travers la restauration dirigée par Purcell, les Oeuvres glorieuses de la grande XIXe et XXe siècles compositeurs-siècle, y compris Wesley, Elgar, Stanford, Vaughan Williams, et Howells. Le volume contient un certain nombre d'Oeuvres plus importantes, y compris de Mendelssohn Ecoute ma prière, Stainer, je vis le Seigneur, et dicentis Naylor Vox: Clama, ainsi qu'une belle sélection de pièces plus courtes, de Gibbons O Seigneur, dans ta colère pour définir Walton moi comme un sceau sur ton cOeur. Avec le volume second compagnon de cantiques et de réponses, cette collection présente bipartite une enquête approfondie de la musique sacrée anglaise à son meilleur. / Recueil / Chant

Over 40 worship favorites featuring the talents of David Crowder, Matt Redman, Chris Tomlin, and others. Songs include: Always - Amazing Grace (My Chains Are Gone) - Awakening - Blessed Be Your Name - Here for You - How Marvelous - Jesus Paid It All - My Heart Is Yours - One Thing Remains (Your Love Never Fails) - Our God - 10,000 Reasons (Bless the Lord) - Whom Shall I Fear (God of Angel Armies) - You Are My King (Amazing Love) - and more. / Piano/Vocal/Guitare (PVG)