By Leonard Bernstein (1918-1990). Arranged by Tom Wallace. Score & Parts. Arrang...(+)
By Leonard Bernstein
(1918-1990). Arranged by
Tom Wallace. Score &
Parts. Arrangers' Publ
Marching Band. Grade 3.
Arrangers' Publishing
Company #M729. Published
by Arrangers' Publishing
Company
Magnificat - Nunc
dimittis. Composed by
Michael Culo. Carus
digital: Extra digital
products. Full Score. 12
pages. Duration 7
minutes. Carus Verlag
#722100. Published by
Carus Verlag (CA.722100).
ISBN 9790007311438.
Key: C major.
English.
The
Evening Service grew out
of the celebrations of
the one thousandth
anniversary of the
consecration of St
Michael’s Church
in Hildesheim, which is a
UNESCO World Heritage
site. For many years St
Michael’s has
celebrated the service of
Choral Evensong, the rich
musical conjunction of
the divine offices of
vespers and compline,
which is so familiar
within the Anglican
tradition. In the
Catholic daily office of
evening prayer,
particularly in the
Cologne version of choral
vespers, the Magnificat
of Mary and
Simeon’s Nunc
dimittis from chapters 1
and 2 of Luke are also
set to music. Both pieces
explore the text, and
they can be sung
independently of each
other – both in
worship and in concert
– and yet they are
connected through
individual motifs and the
shared doxology.
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
Composed
by Travis Weller. Yps.
Full score. 24 pages.
Duration 2 minutes, 18
seconds. Carl Fischer
Music #YPS252F. Published
by Carl Fischer Music
(CF.YPS252F).
ISBN
9781491161913. UPC:
680160920594.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
SATB a cappella SKU: SU.80200703 For SATB a cappella. Composed by ...(+)
SATB a cappella
SKU:
SU.80200703
For
SATB a cappella.
Composed by Daniel E.
Gawthrop. Vocal/Choral,
Sacred Choral. A
cappella. Choral Octavo.
Subito Music Corporation
#80200703. Published by
Subito Music Corporation
(SU.80200703).
Text: adapted
from scripture by Jane
Griner 16 page octavo
Published by: Dunstan
House Minimum order
quantity: 8 copies.
Perusal copies are
available by contacting
office@DunstanHouse.com
b> (Please include the
organization name with
your request). To order
quantities less than
8.
Cantata for Whitsunday
- Urtext. Composed by
Johann Kuhnau. Edited by
Erler. David. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque;
Renaissance/early
Baroque. Sheet Music. 4
pages. Duration 12'.
Breitkopf and Haertel #OB
32090-15. Published by
Breitkopf and Haertel
(BR.OB-32090-15).
ISBN
9790004350409. 10 x 12.5
inches.
The cantata
Daran erkennen wir, dass
wir in Ihm bleiben is
intended for the first
Whitsun holiday. It is
based on a text by Johann
Christoph Wentzel
(1659-1723), the yearly
volume in which it
appears dates to August
4, 1703 and is dedicated
to, among others, Hn.
Joh. Kuhnau / | Chori
Musici bey der | Stadt
Leipzig Directori [Herr
Joh. Kuhnau / Director of
Choral Music at the City
of Leipzig]. It can be
assumed that Kuhnau's
composition originated
near the time of the
text, thus within his
first years in office as
the Leipzig St. Thomas
cantor. Kuhnau follows
the structure of
Wentzel's poem in a
Dictum and four verses
with introductory sonata,
although some details are
varied. In comparison to
other works by Kuhnau,
the scoring is fairly
large with five vocal
parts, trumpets, timpani,
oboes, and bassoon as
well as two violins and
violas each. The short
performing time, on the
other hand, makes the
cantata suitable for
liturgical use, too.Audio
samples: Opella Musica,
camerata lipsiensis,
cond. Gregor Meyer (cpo,
2013).
Choir SKU: ST.EC51 Composed by Various. Edited by David Mateer. Library V...(+)
Choir
SKU: ST.EC51
Composed by Various.
Edited by David Mateer.
Library Volumes.
Transcribed and Edited by
David Mateer. First
published in 2009. Pages:
280. Format: Hardback.
Dimensions (mm): 324 x
246 x 27. Choral Score.
Stainer & Bell Ltd.
#EC51. Published by
Stainer & Bell Ltd.
(ST.EC51).
ISBN
9790220222344.
This
volume, the second of two
devoted to the
16th-century 'Gyffard'
partbooks, typifies the
collection as a whole in
the wide variety of
liturgical types and
compositional procedures
on display. There are
Jesus Mass propers built
on plainsong cantus
firmi, Mass
ordinaries based on
'squares', Magnificat
settings freely composed
or using the canticle
tone or its faburden,
antiphons in honour of
Jesus and the Virgin
Mary, the setting of a
tract (virtually
unprecedented in the
history of English
polyphony), prayers, and
even office responds
masquerading as votive
antiphons. The composers
include Alcock, Bramston,
Hoskins, Johnson, Knyght,
Mundy, Sheppard, Henry?
Stoning, Tallis,
Whytbroke, Van Wilder,
Wright and Anon.
Individual titles
from this volume are
available as Adobe PDF
files...
Composed
by Jan Dismas Zelenka.
Edited by Wolfgang Horn.
German title: De
profundis. Sacred vocal
music, Psalms. Single
Part, Cello/Double Bass.
Composed 1724. ZWV 50. 4
pages. Duration 13
minutes. Carus Verlag #CV
40.064/14. Published by
Carus Verlag
(CA.4006414).
ISBN
9790007060152. Key: D
minor. Language:
Latin/English.
The
Bohemian composer Jan
Dismas Zelenka was a
double bass player and
church music composer at
the Saxon court of the
Elector August the Strong
and his son Friedrich
August II. In the years
after 1721 he composed an
extensive repertoire of
Catholic church music
together with the
Kapellmeister Johann
David Heinichen. These
works, together with the
Dresden operas composed
by Johann Adolf Hasse in
quick succession from
1731 onwards, established
the reputation of the
Saxon court as one of the
most important musical
centers of the late
Baroque period. Zelenka
composed this psalm
setting De profundis in D
minor ZWV 97 in 1724 on
the death of his father,
including a concluding
Requiem verse. This was
later replaced by the
lesser doxology so that
the work can be performed
in the office of
Christmas week. Both
endings are included in
this new edition. Three
trombones, used as an
independent instrumental
group, give the work a
special tonal color.
Score and part available
separately - see item
CA.4006400.
Choral (SSA Choir) SKU: HL.1194271 From Avatar: The Way of Water. ...(+)
Choral (SSA Choir)
SKU: HL.1194271
From Avatar: The Way
of Water. By The
Weeknd. By Abel Tesfaye.
Arranged by Mark A.
Brymer. Pop Choral
Series. Disney,
Motivational, Movies,
Multicultural, Pop.
Octavo. Duration 215
seconds. Published by Hal
Leonard (HL.1194271).
UPC: 196288133537.
6.75x10.5x0.036
inches.
Avatar: The
Way of Water was released
in movie theaters 13
years after the original,
yet it proceeded to scoop
up nearly every box
office record along the
way. This introspective
song by The Weeknd makes
us ponder the importance
of family (while
including diction
opportunities in the
unique
“Na'viâ€
language)!
Mixed Ensemble, Speaker (Study Score) SKU: HL.14005163 Speaker and Sma...(+)
Mixed Ensemble, Speaker
(Study Score)
SKU:
HL.14005163
Speaker and Small
Ensemble. Composed by
Benjamin Britten. Music
Sales America. Classical.
Softcover. Composed 2002.
62 pages. Chester Music
#CH61782. Published by
Chester Music
(HL.14005163).
ISBN
9780711992146. UPC:
884088811983. 8.5x11
inches.
Composed
for a documentary about
the delivery of mail,
Night Mail was
written for the General
Post Office Film Unit in
1935. Text by W.H. Auden.
Includes marked cuts for
synchronized performance
with the film.
Music from the Motion Picture La La Land. Composed by Justin Hurwitz, lyrics b...(+)
Music from the Motion
Picture La La Land.
Composed
by Justin Hurwitz, lyrics
by
Benj Pasek and Justin
Paul.
Arranged by Jacob
Narverud.
This edition: SoundTrax
CD.
CD; Choral Octavo. Alfred
Pop Series. Movie;
Secular.
Published by Alfred Music
Music from the Motion Picture La La Land. Composed by Justin Hurwitz, lyrics...(+)
Music from the Motion
Picture La La Land.
Composed
by Justin Hurwitz, lyrics
by
Benj Pasek and Justin
Paul.
Arranged by Jacob
Narverud.
Choral Octavo. Alfred Pop
Series. Movie; Secular.
20
pages. Published by
Alfred
Music
(TB BR) SKU: HL.49041679 Einfuhrung und Kommentar. Composed by Giu...(+)
(TB BR)
SKU:
HL.49041679
Einfuhrung und
Kommentar. Composed
by Giuseppe Verdi. Edited
by Kurt Pahlen. This
edition: Paperback/Soft
Cover. Paperback. Serie
Musik. Text
book/libretto. 235 pages.
Schott Music #SEM 8023.
Published by Schott Music
(HL.49041679).
ISBN
9783254080233. Italian -
German.
Having
composed five operas in
the 1850s, Verdi, while
looking for a suitable
libretto, came across a
manuscript of Eugene
Scribe which had already
been the subject of works
by other composers.
Although the political
aspect only played a
minor role in the plot,
the censor's office
demanded that the locale
be moved outside Europe.
The world premiere in
Rome on 17 February 1859
was a huge triumph for
Verdi and 'Un Ballo in
Maschera' with is
brilliant arias and
effective choral
scenes.Kurt Pahlen
juxtaposes the Italian
text with the translation
of the libretto
frequently used at German
theatres, adding
information on the
compositional structure
and context to the
musical as well as
external and internal
dramatic action of the
opera. A short synopsis
and a brief outline of
the genesis bring the
work into relation with
the composer's entire
oeuvre and life, thus
offering a comprehensive,
richly illustrated
introduction.
Carntat for the fourth
Sunday after Easter.
Composed by Johann
Sebastian Bach. Edited by
Ute Poetzsch. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Wo Gehest Du
Hin? Sacred vocal music,
Cantatas, Easter and
Eastertide. Set of
Orchestra Parts. Composed
1724. BWV 166. Duration
17 minutes. Carus Verlag
#CV 31.166/19. Published
by Carus Verlag
(CA.3116619).
ISBN
9790007144487. Text
language:
German/English.
The
cantata BWV 166 is among
the church works which
were performed during
Bach's first year in
office at Leipzig. It was
heard for the first time
on Sunday the 7th May
1724. Its tonal language
is plastic and fervent,
emphasized especially by
the prominent role of the
obbligato oboe and by the
decoration of the chorale
by the strings. The
present edition gives a
reading which interprets
the surviving original
material afresh. Score
and parts available
separately - see item
CA.3116600.