(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
Complied and
transcribed for Baritone
and String Quartet by
Aribert Reimann.
Composed by Aribert
Reimann and Franz Liszt.
Arranged by Aribert
Reimann. This edition:
Saddle stitching. Sheet
music. Vocal. Classical.
Score and parts. Composed
1860-1880. 76 pages.
Duration 20'. Schott
Music #ED 21885.
Published by Schott Music
(HL.49044628).
ISBN
9790001198493. UPC:
841886022027.
9.25x12.0x0.212 inches.
German.
Aribert
Reimann's idea to arrange
the lieder of Franz Liszt
for baritone and string
quartet goes back to his
collaboration with
Dietrich Fischer-Dieskau,
recording some of these
lieder for the German
broadcasting company
formerly known as Sender
Freies Berlin (SFB).
Since then, Reimann has
continued to be
fascinated by Liszt's
thrilling harmony and
unconventional treatment
of the voice. Here, he
has compiled a cycle
containing seven lieder
from Liszt's middle and
late periods, arranged so
that each song is the
logical continuation of
its predecessor. Liszt's
fundamental harmony has
been retained, but the
registers have been
altered to such an extent
that they appear in a
completely new light.
At
this point we've seen
everything done with
hymns that we can
possibly think of. And
you may be saying the
last thing you want or
need is another book of
hymns. And some might be
inclined to agree.
Except...
What
if, instead of working so
hard to change them or
improve them, we focus on
revealing the true
nature, power, and
majesty of our favorite
hymns? Rather, to be true
to them, and frame them
in their best light by
rediscovering a fresh
appreciation of their
well-deserved place in
our houses of worship.
Let our choirs raise
their voices in unbridled
passion, fed by the
awe-inspiring, rich,
theological and doctrinal
truths buried deep within
these tremendous songs of
the Faith. Let our
spirits rise with the
soaring melodies, and
once again give voice to
our praise of the
immortal, invisible,
only-wise God! And, more
than anything else, let
us rediscover the joy
that comes when we
encourage our
congregations to raise
our joys and triumphs
high, as together the
Church proclaims, Then
Sings My Soul, to the
greatness of our
God.
While each
great arrangement in this
book stands alone,
Then Sings My Soul
is designed to be
presented as a
through-composed worship
service of hymns,
scripture, and
inspirational readings
for Choir, Congregation,
and Worship Leaders,
created and orchestrated
by Cliff Duren. DVD
Accompaniment Track,
Orchestration, and Stem
Mixes available.
(A Method for the Beginning Flutist and Melodic Studies for the Advanced Player)...(+)
(A Method for the
Beginning Flutist and
Melodic Studies for the
Advanced Player). By
Phyllis Avidan Louke. For
Flute, Flute Duet. This
edition: Second Edition.
Instructional. BEGINNING
- INTERMEDIATE. Method
book. Standard notation.
Composed 2009
Piano, lyrics SKU: M7.DUX-637 Arranged by Susi Weiss. This edition: Ring/...(+)
Piano, lyrics
SKU:
M7.DUX-637
Arranged
by Susi Weiss. This
edition: Ring/Spiral
binding. Sheet music.
Performance book. 132
pages. Edition Dux Verlag
#DUX 637. Published by
Edition Dux Verlag
(M7.DUX-637).
Choral Children's choir, Piano SKU: PR.312419290 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419290
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes, 35 seconds.
Theodore Presser Company
#312-41929. Published by
Theodore Presser Company
(PR.312419290).
ISBN
9781491137932. UPC:
680160692620. Texts from
The King James Bible,
creation myths from
India, North America, and
Egypt; Edna St. Vincent
Millay, Percy Bysshe
Shelley, Walt Whitman,
Lord Byron, Esther
Iverem, William
Wordsworth, Wendell
Berry, Lord Alfred
Tennyson, Charles Mackay,
William .
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Choral (SATB) SKU: HL.417939 Composed by John Leavitt. Sacred Choral. Chr...(+)
Choral (SATB)
SKU:
HL.417939
Composed by
John Leavitt. Sacred
Choral. Christmas.
Octavo. 16 pages.
Duration 295 seconds.
Published by Hal Leonard
(HL.417939).
UPC:
196288059295.
6.75x10.5x0.036 inches.
II Corinthians 9:15,
Revelation
12:5.
Floating
effortlessly, this anthem
for soloist and choir is
the perfect Christmas Eve
offering. Surprising
harmonies delight while
the theologically rich
lyric reminds us of the
true meaning of
Christmas. Score and
Parts (fl 1-2, ob, cl
1-2, bn, perc 1-3, hp, vn
1-2, va, vc, db)
available as a digital
download.
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
For
Tenor, Flute, String
Quartet and Piano.
Composed by Lowell
Liebermann. Poems by
William Butler Yeats.
Full score. With Standard
notation. Duration 15
minutes. Theodore Presser
Company #111-40139S.
Published by Theodore
Presser Company
(PR.11140139S).
UPC:
680160002887. Poems by
William Butler
Yeats.
This work
was commissioned by Susan
and Elihu Rose. It was
written at the request of
tenor Robert White, to
whom it is dedicated. It
was premiered at Alice
Tully Hall on February
17, 1993 by Robert White,
James Galway, the Lark
Quartet and pianist Brian
Zeger. It was actually
Miss Alice Tully's
suggestion that some
settings of Yeats would
be lovely that prompted
me to look at these
poems. I was at once
struck by their intense
lyric beauty and decided
immediately to use them
for this work. The six
poems were chosen from
Yeats' 1899 collection
The Wind Among the Reeds.
Dealing with unrequited
love, these particular
poems have hints of the
mystic preoccupations
which were to become more
prominent in Yeats' later
work. Scored for an
ensemble consisting of
Flute, Piano and String
Quartet, it was my
intention that the beauty
and clarity of the poetry
should be matched by a
directness of musical
expression which would
not overwhelm the poems.
The instrumental writing
makes no attempt at tone
painting but rather
provides a colorful but
often austere
psychological background
to the tenor's melodies
which are at times almost
folk-like in their
simplicity. The work is
unified as a cycle not
only by its tonal
structure, but also
through harmonic and
motivic elements that the
individual songs
share.
For
Tenor, Flute, String
Quartet and Piano.
Composed by Lowell
Liebermann. Saddle. Set
of Score and Parts. With
Standard notation.
Composed 1992. Opus 40.
44+7+7+8+8+8 pages.
Duration 15 minutes.
Theodore Presser Company
#111-40139. Published by
Theodore Presser Company
(PR.111401390).
UPC:
680160002863. 9 x 12
inches. Poems by William
Butler Yeats.
This
work was commissioned by
Susan and Elihu Rose. It
was written at the
request of tenor Robert
White, to whom it is
dedicated. It was
premiered at Alice Tully
Hall on February 17, 1993
by Robert White, James
Galway, the Lark Quartet
and pianist Brian Zeger.
It was actually Miss
Alice Tully's suggestion
that some settings of
Yeats would be lovely
that prompted me to look
at these poems. I was at
once struck by their
intense lyric beauty and
decided immediately to
use them for this work.
The six poems were chosen
from Yeats' 1899
collection The Wind Among
the Reeds. Dealing with
unrequited love, these
particular poems have
hints of the mystic
preoccupations which were
to become more prominent
in Yeats' later work.
Scored for an ensemble
consisting of Flute,
Piano and String Quartet,
it was my intention that
the beauty and clarity of
the poetry should be
matched by a directness
of musical expression
which would not overwhelm
the poems. The
instrumental writing
makes no attempt at tone
painting but rather
provides a colorful but
often austere
psychological background
to the tenor's melodies
which are at times almost
folk-like in their
simplicity. The work is
unified as a cycle not
only by its tonal
structure, but also
through harmonic and
motivic elements that the
individual songs
share.
Chamber Music Piano, tenor voice SKU: PR.111401970 For Tenor, Flute, S...(+)
Chamber Music Piano,
tenor voice
SKU:
PR.111401970
For
Tenor, Flute, String
Quartet and Piano.
Composed by Lowell
Liebermann. Poems by
William Butler Yeats.
Piano Reduction Score.
With Standard notation.
Composed 1992. 20 pages.
Duration 15 minutes.
Theodore Presser Company
#111-40197. Published by
Theodore Presser Company
(PR.111401970).
UPC:
680160490394. 9 x 12
inches. English. Text:
William Butler Yeats.
William Yeats. Poems by
William Butler
Yeats.
This work
was commissioned by Susan
and Elihu Rose. It was
written at the request of
tenor Robert White, to
whom it is dedicated. It
was premiered at Alice
Tully Hall on February
17, 1993 by Robert White,
James Galway, the Lark
Quartet and pianist Brian
Zeger. It was actually
Miss Alice Tully's
suggestion that some
settings of Yeats would
be lovely that prompted
me to look at these
poems. I was at once
struck by their intense
lyric beauty and decided
immediately to use them
for this work. The six
poems were chosen from
Yeats' 1899 collection
The Wind Among the Reeds.
Dealing with unrequited
love, these particular
poems have hints of the
mystic preoccupations
which were to become more
prominent in Yeats' later
work. Scored for an
ensemble consisting of
Flute, Piano and String
Quartet, it was my
intention that the beauty
and clarity of the poetry
should be matched by a
directness of musical
expression which would
not overwhelm the poems.
The instrumental writing
makes no attempt at tone
painting but rather
provides a colorful but
often austere
psychological background
to the tenor's melodies
which are at times almost
folk-like in their
simplicity. The work is
unified as a cycle not
only by its tonal
structure, but also
through harmonic and
motivic elements that the
individual songs
share.
(A Theatrical Song Cycle About The Civil War). By Ricky Ian Gordon. For vocal en...(+)
(A Theatrical Song Cycle
About The Civil War). By
Ricky Ian Gordon. For
vocal ensemble. Opera.
Vocal score/piano
reduction. Standard
notation. 160 pages.
Duration 1 hour, 25
minutes. Published by
Theodore Presser Company
Solo alto voice & guitar (Solo) SKU: OU.9780193583481 Composed by Anthony...(+)
Solo alto voice & guitar
(Solo)
SKU:
OU.9780193583481
Composed by Anthony
Powers. Voice & Piano. 16
pages. Duration 11'.
Oxford University Press
#9780193583481. Published
by Oxford University
Press (OU.9780193583481).
ISBN 9780193583481. 12
x 8 inches.
For
solo alto and guitar
Settings of nine poems by
Irene Noel-Baker which
take and transform
elements of Greek myths.
The piece shifts from the
mythological past to the
present, just as the
medium of voice and
guitar suggest both
'early music' (with lute)
and the folk or pop of
today. Powers alludes to
each kind of music and,
in a way, re-invents
lute-songs.
Oramos Cantando
Lectionary. Oramos
cantando series. Sacred.
456 pages. GIA
Publications #8153.
Published by GIA
Publications (GI.G-8153).
ISBN 9781622770724.
English, Spanish. Text
Source: English refs.:
Lectionary for
Mass, English vv.:
The Revised Grail
Psalms or NAB,
Spanish: Leccionario
Edición
Hispanoamericana
<
p>This psalm collection
is arranged according to
liturgical year, with the
three-year temporal cycle
being followed by
solemnities, feasts of
the Lord, and national
holidays presented in
chronological order,
everything as it appears
in the Oramos Cantando /
We Pray in Song hymnal.
Most of the musical
settings of the 144 pairs
of English and Spanish
psalm refrains in this
collection were composed
in 2003 either by Tony
Alonso, Ronald Krisman,
or John Schiavone. In
most cases, each pair of
refrains share the same
melody, occasionally they
are counter-melodies to
each other, allowing for
both languages to be sung
simultaneously. Some
refrains were further
edited, a few were
replaced with new
refrains composed by
Michel Guimont, Kelly
Dobbs Mickus, and Ronald
Krisman. The psalm tones
of Canadian composer
Michel Guimont, which
enjoy a wide popularity
in North America, are
used exclusively in this
collection. The
Lectionary psalms use
USCCB-approved refrains
in both English and
Spanish and verses from
The Revised Grail Psalms
and the salterio of
Spain's Conferencia
Episcopal Española
(CEE). These bilingual
lectionary psalms have
been included in the
Sacred Song missalette
program of The Liturgical
Press since 2004. While
this collection may be
used as a bilingual
Lectionary psalter with
any musical resource
found in the pew, it is
specifically linked to
GIA's hymnal Oramos
Cantando / We Pray in
Song.