The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Smart The Office For The Holy Communion in the key of E Flat arranged for mixed voiced choir Soprano, Alto, Tenor, Bass

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS252

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,  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. .

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS252F

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,  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. .

Piano - Grade 7-8

SKU: ST.C463

Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463).

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Elois aâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Opera, Lyrics Only

SKU: HL.14020975

Composed by Sir Peter Maxwell Davies. Music Sales America. Opera or Operetta. Book [Softcover]. Composed 1999. 24 pages. Chester Music #CH55304. Published by Chester Music (HL.14020975).

UPC: 884088860066. 8.75x8.25 inches.

Chamber opera in a prologue and one act. A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again. Libretto only. Duration c. 1h 25mins.

Composed by Claudio Casciolini. Arranged by Timothy Flynn. A beautiful, yet easy addition to your choir's Eucharistic repertoire, this motet by the former Maestro di cappella at the church of San Lorenzo in Damaso (Rome) features comfortable vocal ranges and primarily homophonic textures with some imitative count. Communion, General. Published by CanticaNOVA Publications (C5.7085).

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. CD Preview Pack. Duration ca. 39 minutes. Published by Word Music

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Choral Book. Duration ca. 39 minutes. Published by Word Music

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Instructional DVD. Published by Word Music

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Teacher's Resource Kit. Published by Word Music

The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Bulk CDs (10-pack). Duration ca. 39 minutes. Published by Word Music

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Listening CD. Duration ca. 39 minutes. Published by Word Music

(The Gift Goes On!). By Celeste Clydesdale. Arranged by David Clydesdale. For Unison/2-part choir. Christmas, Christian, Children's Musicals, Choral. Easy. Accompaniment CD. Duration ca. 39 minutes. Published by Word Music

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006414

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.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006413

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. German title: De profundis. Sacred vocal music, Psalms. Single Part, Viola. Composed 1724. ZWV 50. 4 pages. Duration 13 minutes. Carus Verlag #CV 40.064/13. Published by Carus Verlag (CA.4006413).

ISBN 9790007060145. 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.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006409

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. 1x 40.064/21 oboe 1, 1x 40.064/22 oboe 2, 1x 40.064/31 trombone 1, 1x 40.064/32 trombone 2, 1x 40.064/33 trombone 3. German title: De profundis 5. Sacred vocal music, Psalms. Set of Orchestra Parts. Composed 1724. ZWV 50. 28 pages. Duration 13 minutes. Carus Verlag #CV 40.064/09. Published by Carus Verlag (CA.4006409).

ISBN 9790007060114. 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 parts available separately - see item CA.4006400.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006411

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. German title: De profundis. Sacred vocal music, Psalms. Single Part, Violin 1. Composed 1724. ZWV 50. 4 pages. Duration 13 minutes. Carus Verlag #CV 40.064/11. Published by Carus Verlag (CA.4006411).

ISBN 9790007060121. 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.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006405

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. German title: De profundis. Sacred vocal music, Psalms. Choral Score. Composed 1724. ZWV 50. 12 pages. Duration 13 minutes. Carus Verlag #CV 40.064/05. Published by Carus Verlag (CA.4006405).

ISBN 9790007060107. 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 available separately - see item CA.4006400.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006419

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. Complete orchestral parts. Sacred vocal music, Psalms. Set of Orchestra Parts. Composed 1724. ZWV 50. Duration 13 minutes. Carus Verlag #CV 40.064/19. Published by Carus Verlag (CA.4006419).

ISBN 9790007217280. 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 parts available separately - see item CA.4006400.

Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 violins, viola, basso continuo - Grade 3

SKU: CA.4006412

Composed by Jan Dismas Zelenka. Edited by Wolfgang Horn. German title: De profundis. Sacred vocal music, Psalms. Single Part, Violin 2. Composed 1724. ZWV 50. 4 pages. Duration 13 minutes. Carus Verlag #CV 40.064/12. Published by Carus Verlag (CA.4006412).

ISBN 9790007060138. 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.

(Medium/Low Voice). By William Bolcom. For Medium/Low Voice, Piano Accompaniment. E.B. Marks. Softcover. 176 pages. Published by Edward B. Marks Music

SKU: GI.001151

Sacred. GIA Publications #001151. Published by GIA Publications (GI.001151).

These colorful notecard packs are just the thing to have on hand for thank-you notes, impromptu birthday or holiday greetings, or for special occasions throughout the year. They are blank inside, ready for you to personalize by hand or by running through your computer printer. The low price allows you to keep several styles on hand at home or in the office. They make great gifts, too! 4 x 5 cards with envelopes, 20 cards per pack.

SKU: GI.001148

Composed by Michael O'Neill McGrath. Children. Sacred. GIA Publications #001148. Published by GIA Publications (GI.001148).

UPC: 641151011486. English.

These colorful notecard packs are just the thing to have on hand for thank-you notes, impromptu birthday or holiday greetings, or for special occasions throughout the year. They are blank inside, ready for you to personalize by hand or by running through your computer printer. The low price allows you to keep several styles on hand at home or in the office. They make great gifts, too! Text based on Galatians 5:16-25.

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

(High Voice). By William Bolcom. For High Voice, Piano Accompaniment. E.B. Marks. 192 pages. Published by Edward B. Marks Music