| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| How Great Thou Art Chorale Hope Publishing Company
Arranged by Joel Raney. General Worship, Sacred. Set of instrumental parts. Pub...(+)
Arranged by Joel Raney.
General Worship, Sacred.
Set of instrumental
parts. Published by Hope
Publishing Company
(HP.C5951O).
$89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Pictures From Spain Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Scomegna Edizioni Musicali
Composed by Daniele Carnevali. For Concert band. 1.Jota 2.Habanera 3.Paso doble....(+)
Composed by Daniele
Carnevali. For Concert
band. 1.Jota 2.Habanera
3.Paso doble. Original
Work, Suite. Grade 3.
Score and set of parts.
Duration 6:20. Published
by Scomegna Edizioni
Musical srl
$135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Woodwinds (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wi...(+)
Woodwinds (solos: SATB -
choir: SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-30
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Folder.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Set of
parts. Composed 1780. 56
pages. Duration 20'.
Breitkopf and Haertel #OB
5329-30. Published by
Breitkopf and Haertel
(BR.OB-5329-30). ISBN
9790004333563. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $71.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wit...(+)
Violin 2 (solos: SATB -
choir: SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-16
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 12 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-16.
Published by Breitkopf
and Haertel
(BR.OB-5329-16). ISBN
9790004333549. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Violin 1 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wit...(+)
Violin 1 (solos: SATB -
choir: SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-15
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 12 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-15.
Published by Breitkopf
and Haertel
(BR.OB-5329-15). ISBN
9790004333532. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| How Great Thou Art Chorale SATB [Octavo] Hope Publishing Company
Arranged by Joel Raney. For SATB choir. Octavo. 12 pages. Published by Hope Publ...(+)
Arranged by Joel Raney.
For SATB choir. Octavo.
12 pages. Published by
Hope Publishing Company
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Organ (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(withou...(+)
Organ (solos: SATB -
choir: SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-11
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 16 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-11.
Published by Breitkopf
and Haertel
(BR.OB-5329-11). ISBN
9790004333525. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Basso (cello/double bass) (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - tim...(+)
Basso (cello/double bass)
(solos: SATB - choir:
SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-26
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-26.
Published by Breitkopf
and Haertel
(BR.OB-5329-26). ISBN
9790004333556. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
(solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))...(+)
(solos: SATB - choir:
SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.CHB-5289-02
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02). ISBN
9790004412046. 7.5 x 10.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 [Conducteur] Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 0.2.0.2. - 0.2...(+)
Chorus (with soloists)
and orchestra (solos:
SATB - choir: SATB -
0.2.0.2. - 0.2.3.0. -
timp - org - str(without
va)) SKU:
BR.PB-5329
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $51.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| All the Best Songs of Praise & Worship 3 (Trumpet 2) Lillenas Publishing Co.
SKU: LP.765762163003 More Contemporary Favorites. Songbook. Praise...(+)
SKU:
LP.765762163003
More Contemporary
Favorites. Songbook.
Praise & Worship and
Sacred. CD-ROM part book.
Published by Lillenas
Publishing Company
(LP.765762163003).
UPC:
765762163003. Here
is another great release
from the immensely
popular All the Best
Songs of Praise & Worship
series. New songs like
Center Rescue and
Revelation Song as well
as some updated
treatments of classic and
familiar hymns such as
Everlasting God Amazing
Grace (My Chains Are
Gone) Mighty to Save and
Your Grace Is Enough are
all included in this
incredible book. You will
find this ultimate
gathering of songs chosen
from the trusted Top 500
CCLI to be invaluable for
congregational worship as
well as for solo
presentation. All the
Best Songs of Praise &
Worship 3 will give you
the most exhaustive
collection of the most
powerful and effective
songs being sung by God's
people around the world.
Over 100 favorites for
congregation worship team
or small group use in
easy-to-read songbook
format 60 song titles are
provided in split-channel
format for pre-recorded
accompaniment options Now
with complete
church-friendly
orchestrations Song
Indexes: Index of
Scripture Backgrounds by
Song Index of Scripture
Backgrounds by Book. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Here's That Rainy Day Big band [Conducteur et Parties séparées] - Facile Sierra Music
By Van Heusen. Arranged by Bob Curnow. For jazz ensemble (5-4-4-4). The Bob Curn...(+)
By Van Heusen. Arranged
by Bob Curnow. For jazz
ensemble (5-4-4-4). The
Bob Curnow Big Band
Series. Ballad. Grade
2-3. Score and set of
parts. Published by
Sierra Music
$45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507549 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Organ. Innovative
practice aids, Sacred
vocal music, Oratorios.
Single Part, Organ.
Composed 1736/1751. HWV
75. 60 pages. Duration 85
minutes. Carus Verlag #CV
55.075/49. Published by
Carus Verlag
(CA.5507549). ISBN
9790007171315. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and part
available separately -
see item CA.5507500. $80.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507509 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext. 2x
55.075/21 2 flutes, 1x
55.075/22 oboe 1, 1x
55.075/23 oboe 2, 3x
55.075/24 3 bassoons, 2x
55.075/31 2 horns, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets.
Stuttgart Urtext Edition:
Handel. Harmony parts.
Innovative practice aids,
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Composed
1736/1751. HWV 75.
Duration 85 minutes.
Carus Verlag #CV
55.075/09. Published by
Carus Verlag
(CA.5507509). ISBN
9790007226794. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and
parts available
separately - see item
CA.5507500. $160.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Is Thy Faithfulness Orchestre Hope Publishing Company
Choral (Orchestra) SKU: HP.C6194 Composed by William Runyan. Arranged by ...(+)
Choral (Orchestra)
SKU: HP.C6194
Composed by William
Runyan. Arranged by Mary
McDonald. Piano
Accompaniment with
Optional Orchestra.
Hymntune, Hymn
Arrangements,
Scripture-Based,
Thanksgiving,
Thanksgiving, General
Worship, Faith &
Faithfulness, God -
Faithfulness. Octavo. 12
pages. Hope Publishing
Company #C6194. Published
by Hope Publishing
Company (HP.C6194).
UPC: 763628161941.
McDonald, Mary.
Lamentations 3:22-23,
James 1:17, Psalm 19:1-6,
Psalm 104. Classic
hymn tune Fully
expressing God's
unchangeable faithfulness
in any circumstance, this
epic choral setting
displays the power and
grandeur of this
cherished hymn. The
orchestration by Michael
Lawrence magnifies the
dramatic sweep of this
ebullient, raise the
rooftops setting.
Orchestration:
Conductor's Score, 2
Flutes, Oboe, 2
Clarinets, Bassoon, 3
Trumpets, 2 Horns, 2
Trombones, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola, Cello
and String Bass. $3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Guide me, O thou great Jehovah Chorale SATB SATB, Orgue [Octavo] - Facile Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and organ or large orchestra (3...(+)
Composed by Mack Wilberg
(1955-). For SATB choir
and organ or large
orchestra (3 flutes (
piccolo), 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
2 percussion (suspended
cymbal, chimes), organ,
strings). Mixed Voices.
Sacred. Level B (easy).
Octavo. 12 pages.
Duration 4 minutes.
Published by Oxford
University Press
$3.65 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Is Thy Faithfulness Hope Publishing Company
Vocal Duet SKU: HP.9185 Composed by William Runyan. Arranged by Mary McDo...(+)
Vocal Duet SKU:
HP.9185 Composed by
William Runyan. Arranged
by Mary McDonald. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #9185.
Published by Hope
Publishing Company
(HP.9185). UPC:
763628191856. Thomas O.
Chisholm. Classic
hymn tune Fully
expressing God's
unchangeable faithfulness
in any circumstance, this
epic choral setting
displays the power and
grandeur of this
cherished hymn. The
orchestration by Michael
Lawrence magnifies the
dramatic sweep of this
ebullient, raise the
rooftops setting.
Orchestration:
Conductor's Score, 2
Flutes, Oboe, 2
Clarinets, Bassoon, 3
Trumpets, 2 Horns, 2
Trombones, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola, Cello
and String Bass. $7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Great Is Thy Faithfulness Hope Publishing Company
Vocal Solo (Key of F) SKU: HP.9120 Composed by William Runyan. Arranged b...(+)
Vocal Solo (Key of F)
SKU: HP.9120
Composed by William
Runyan. Arranged by Mary
McDonald. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 8 pages. Hope
Publishing Company #9120.
Published by Hope
Publishing Company
(HP.9120). UPC:
763628191207. Thomas O.
Chisholm. Classic
hymn tune Fully
expressing God's
unchangeable faithfulness
in any circumstance, this
epic choral setting
displays the power and
grandeur of this
cherished hymn. The
orchestration by Michael
Lawrence magnifies the
dramatic sweep of this
ebullient, raise the
rooftops setting.
Orchestration:
Conductor's Score, 2
Flutes, Oboe, 2
Clarinets, Bassoon, 3
Trumpets, 2 Horns, 2
Trombones, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola, Cello
and String Bass. $7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| The Carpenter Shawnee Press
Choral (Orchestra Accompaniment) SKU: HL.35029343 From Canticle of the...(+)
Choral (Orchestra
Accompaniment) SKU:
HL.35029343 From
Canticle of the Cross
Orchestration.
Composed by Joseph M.
Martin. Harold Flammer
Easter. Good Friday, Holy
Week, Lent, Sacred.
CD-ROM, Score and Parts.
Published by Shawnee
Press (HL.35029343).
UPC: 884088955663. 5x5
inches. Uses: Lent, Holy Week, Good
Friday
Scriptur
e: Genesis 1:31;
Matthew 4:23, 13:54-56;
John 19:30
A
significant text and a
compelling melody combine
to create a moving
testament of grace. Set
in three tableaus from
the life of Christ, the
text employs sacred
metaphor, connecting the
listener to Jesus as
Carpenter, Healer and
Redeemer. Based upon a
folk song, the music
moves from gentle beauty
to sections that are
powerful and dramatic.
The final lines of
“it is finished, it
is good,” bring an
emotive completion to the
great story of grace.
Available separately:
SATB, StudioTrax CD,
Orchestration (Score and
parts for alto recorder,
oboe/english horn,
clarinet 1&2, bassoon,
horn 1&2, trumpets 1-3,
trombone 1&2, tuba,
timpani, percussion 1&2,
harp, piano, violin 1&2,
viola, cello, double
bass). Duration: ca.
4:28. $69.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ecce Sacerdos Magnus for 10-part Brass Choir [Conducteur et Parties séparées] - Avancé Cherry Classics
10-part Brass Choir - Advanced SKU: CY.CC3040 Composed by Anton Bruckner....(+)
10-part Brass Choir -
Advanced SKU:
CY.CC3040 Composed by
Anton Bruckner. Arranged
by Stuart O'Neil.
Classical. Score and
Parts. Cherry Classics
#CC3040. Published by
Cherry Classics
(CY.CC3040). ISBN
9790530110157. 8.5 x 11
in inches. Ecce
Sacerdos Magnus (Behold
the Great Priest) comes
from the early European
tradition of plainchant.
Bruckner's setting of the
responsory, originally
scored for eight-part
mixed choir, organ and
three trombones, brings
certain medieval
qualities to an otherwise
Romantic-era composition.
This transcription for
10-part brass choir is
appropriate for
intermediate level and
above and attempts to
retain the majesty,
power, and beauty of the
original piece. It should
be approached as a choral
piece: connected and
fluid. The harmonic
language is essentially
triadic; great care
should be taken in the
tuning of each chord
throughout the piece.
Instrumentation is for: 3
Trumpets in B-flat, 2
Horns, 3 Trombones,
Euphonium and Tuba.
Listen to the live
performance by a young
group of musicians
conducted by Dr. Paul
Stevens, Professor of
Horn at KU. $42.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507505 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Innovative
practice aids, Sacred
vocal music, Oratorios.
Choral Score. Composed
1736/1751. HWV 75. 40
pages. Duration 85
minutes. Carus Verlag #CV
55.075/05. Published by
Carus Verlag
(CA.5507505). ISBN
9790007171230. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score
available separately -
see item CA.5507500. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507519 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Complete
orchestral parts.
Innovative practice aids,
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Composed
1736/1751. HWV 75.
Duration 85 minutes.
Carus Verlag #CV
55.075/19. Published by
Carus Verlag
(CA.5507519). ISBN
9790007171438. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and
parts available
separately - see item
CA.5507500. $605.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoon, 2 horns,...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoon, 2 horns, 2
trumpets, timpani, 2 (3)
violin, 2 violas, cello,
basso continuo SKU:
CA.5507500 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Innovative
practice aids, Sacred
vocal music, Oratorios.
Full score. Composed
1736/1751. HWV 75. 184
pages. Duration 85
minutes. Carus Verlag #CV
55.075/00. Published by
Carus Verlag
(CA.5507500). ISBN
9790007167769. Language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. $144.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Faithfulness (Great Is Thy Faithfulness) Hope Publishing Company
Vocal duet SKU: HP.8967 Composed by Joel Raney. Piano Accompaniment with ...(+)
Vocal duet SKU:
HP.8967 Composed by
Joel Raney. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #8967.
Published by Hope
Publishing Company
(HP.8967). UPC:
763628189679. Origi
nal hymn tune Thomas
Chisholm's beloved hymn
text is given a new
melody and dynamic choral
treatment by Joel Raney,
complete with a powerful
orchestral accompaniment,
now also available for
medium-high voice vocal
soloists. . The familiar
words of this classic
hymn come to life afresh
in this compelling new
treatment. The
orchestration by Brant
Adams includes parts for
conductor's score, 2
flutes, oboe, 2 clarinets
in B-flat, bassoon, 2
horns in F, 3 trumpets in
B-flat, 2 trombones, bass
trombone or tuba,
timpani, percussion 1 and
2, harp, 2 violins,
viola, cello, and double
bass. $7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| After You've Gone Big band [Conducteur et Parties séparées] Handelsware
Big band (Alto Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpe...(+)
Big band (Alto Sax 1,
Alto Sax 2, Tenor Sax 1,
Tenor Sax 2, Baritone
Sax, Trumpet 1-5,
Trombone 1-3, Bass
Trombone 4, Piano, Bass,
Drums) - difficult
SKU: M7.SMP-1027
For Woody Herman.
Composed by Henry
Creamer, Turner Layton,
and Woody Herman.
Arranged by Bill Holman.
Sheet music. Score and
parts. Handelsware #SMP
1027. Published by
Handelsware
(M7.SMP-1027).
English. Holman
has done a few
arrangements of this
tune, and this one may
well be the best. Bill
wrote this chart for the
great Woody Herman
Orchestra. It is written
in a very bright swing
tempo, and there is solo
space for alto sax, tenor
sax and trumpet. This
chart has great line
writing (no surprise
there) and powerful,
swinging ensemble shout
choruses. Your band will
really love playing this
one. 5-5-4-3. $135.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hey Jealous Lover Big band [Conducteur et Parties séparées] Handelsware
Big band (Alto Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpe...(+)
Big band (Alto Sax 1,
Alto Sax 2, Tenor Sax 1,
Tenor Sax 2, Baritone
Sax, Trumpet 1-4,
Trombone 1-3, Bass
Trombone 4, Piano,
Guitar, Bass, Drums) -
intermediate SKU:
M7.SMP-1213
Swing. Composed by
Bee Walker, Kay Twomey,
and Sammy Cahn. Arranged
by Billy Byers. Sheet
music. Score and parts.
Handelsware #SMP 1213.
Published by Handelsware
(M7.SMP-1213).
English. Many
have tried, but few have
been able to match the
incredible swing that
happens when you combine
Billy Byers' arranging
with the Count Basie
Orchestra. Originally
recorded on the Basie
album Frankly Basie:
Count Basie Plays the
Hits of Frank Sinatra,
Hey, Jealous Lover is a
medium-swing chart that
will excite your band and
audiences alike! Filled
with typical Basie-esque
piano solo fills (written
out), there is also room
for trumpet and tenor
saxophone improvisation.
The ensemble writing is
powerful and swinging;
nothing complex or
rhythmically awkward,
just a great melody with
hard swingin' horn lines
and tasty solo spots.
5-4-4-4. $97.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hot House Ensemble Jazz - Intermédiaire Alfred Publishing
Jazz Ensemble - Grade 3.5 SKU: AP.49618 Composed by Tadd Dameron. Arrange...(+)
Jazz Ensemble - Grade 3.5
SKU: AP.49618
Composed by Tadd Dameron.
Arranged by Mike Kamuf.
Jazz Ensemble; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Jazz Band Series. Jazz.
Score and Part(s).
Duration 4:34. Alfred
Music #00-49618.
Published by Alfred Music
(AP.49618). ISBN
9781470651343. UPC:
038081572253.
English. Hot House
arranged by Mike Kamuf is
an exciting swinger on a
great jazz standard
played at 154 BPM. The
distinctive melody is
handled by alto 1 and
trumpet 2 with written
solos for both. It also
features a serious sax
soli, optional vibes,
lead trumpet range to
written B-flat above the
staff (optional C), plus
a powerful shout
chorus---all make a
first-class chart! (4:34)
This title is available
in MakeMusic Cloud. $52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| After The Rain Ensemble Jazz [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2 SKU: CL.032-4622-00 Composed by Neeck. Jazz Ensemble. Score and s...(+)
Grade 2 SKU:
CL.032-4622-00
Composed by Neeck. Jazz
Ensemble. Score and set
of parts. Composed 2018.
Duration 3 minutes, 17
seconds. C.L. Barnhouse
#032-4622-00. Published
by C.L. Barnhouse
(CL.032-4622-00).
This upbeat and
powerful rock ballad
features your alto
saxophone or trumpet
soloist. The fully-scored
ensemble sections
compliment the lyrical
theme, and provide solid
support for your young
soloist. The perfect
choice for that
change-of-pace moment in
your concert. Great
ballad writing! $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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