Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
Men's
Chorus (10 Copies).
Composed by Chen Yi.
Choral part(s). With
Standard notation. 480
pages. Duration 17
minutes. Theodore Presser
Company #312-41682.
Published by Theodore
Presser Company
(PR.312416820).
UPC:
680160050376. 8.5 x 11
inches.
Chen
Yi’s most
performed and most
beloved choral music is a
series of 10 Chinese folk
songs adapted for
S.A.T.B. Chorus
(published in 3 volumes:
312-41731, 312-41732,
312-41733). This special
version is a setting of
the familiar collection,
adapted for
children’s chorus
and
strings. Remembering
when I studied
composition in the
Central Conservatory of
Music in Beijing, I
learned to sing hundreds
of Chinese folk songs
collected from more than
twenty provinces and
fifty ethnic groups, and
went to countryside to
collect original folk
music every year. I
got to know that the folk
songs are a mirror of
people’s daily
lives, their thoughts and
sentiments, local customs
and manners. They are
sung in regional dialects
and use the idioms of
everyday speech with
their particular
intonations, accents and
cadences. This
correlation between
speech and music
distinguishes folk songs
of one region from
another. I learned
all songs by heart and
sang them back in the
exams every week.Â
They melted in my blood
and became my natural
music language. The
more I walk into the
music life,the more I
treasure the rich culture
I have learned from my
homeland. When I
became the
Composer-in-Residence of
Chanticleer and was
invited to write the
first work for its
concert program, as well
as another version for
its
Singing-In-The-Schools
program, I decided to
introduce A Set of
Chinese Folk Songs to my
American audiences, and
add a new flavor to
Chanticleer’srich
repertoire. The work
includes ten folk songs,
taken from eight
provinces (Anhui,
Shaanxi, Yunnan, Shanxi,
Taiwan, Sinkiang, Jiangsu
and Guizhou) and five
ethnic groups (Han,
Hasake, Uighur, Miao and
Yi). I arranged them
for choirs (men’s
or children’s
chorus) with various
combinations in voices,
to be sung mostly in
Chinese, some in
English.  From the
mysterious mountain songs
originally sung in the
open air with high and
long notes that can carry
over great distances, the
sweet and delicate
melodies of young love
compared with nature, the
humorous antiphony by
little children, and the
lively dancing tune by
villagers, you may get an
idea of various music
styles in Chinese folk
songs according to
geographic, ethnic and
linguistic differences,
and appreciate the beauty
of the Chinese folk
music. The pure choir
sound and the
sophisticated singing by
Chanticleer, in terms of
pitches, language and
musical expressions,
really attract and
inspire me to create some
more new works in the
years to come. In
thisedition of A Set of
Chinese Folk Songs for
standard SATB mixed choir
(with piano rehearsal
score), I divided these
ten songs into three
volumes. They are
Fengyang Song, The
Flowing Stream, Guessing,
Thinking of My Darling,
Mayila, Jasmine Flower,
Riding on a Mule,
Awariguli, Diu Diu Deng,
andMountain Song and
Dancing Tune.—Chen
Yi.
(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vo...(+)
(Piano/Vocal/Guitar). For
Guitar; Keyboard; Piano;
Voice. This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Standard. 564 pages.
Published by Alfred Music
Publishing
Piano Solo Piano Solo; Piano/Keyboard SKU: HL.244643 Over 60 Popular P...(+)
Piano Solo Piano Solo;
Piano/Keyboard
SKU:
HL.244643
Over 60
Popular Pieces &
Songs. By Naomi Cook.
By Various. Piano Solo
Songbook. Classical, Pop,
Standards. Softcover.
Composed 2017. 276 pages.
Duration 116 seconds. Hal
Leonard #AM1012836.
Published by Hal Leonard
(HL.244643).
ISBN
9781785585005. UPC:
888680747336.
9.0x12.0x0.61 inches.
English.
This
comprehensive collection
contains the most
well-known, best-loved
pieces of music that
every pianist should have
in their repertoire.
You'll find classical
favorites, famous film
themes, laid-back jazz,
chart hits, wedding
music, Christmas classics
and handy must-haves like
“Auld Lang
Syne†and
“Happy Birthday to
You,†all organized
into themed sections for
navigation. With
everything from Mozart to
Mariah Carey, Einaudi to
Elton John and John
Williams to Justin
Bieber, this is the
ultimate dip-in resource
for pianists!
Cello; Piano Six Hands; Viola; Violin (Score & Parts) SKU: HL.14043461 (+)
Cello; Piano Six Hands;
Viola; Violin (Score &
Parts)
SKU:
HL.14043461
Violin, Viola, Cello
and Piano Six Hands.
Composed by Richard Reed
Parry. Music Sales
America. Classical,
Contemporary. Softcover.
Chester Music #CH83215.
Published by Chester
Music (HL.14043461).
9.5x14.25x0.122
inches.
Richard
Reed Parry 'S Heart And
Breath Sextet For Piano
Six-Hands, Violin, Viola
And Violoncello. Heart
And Breath Sextet Was
Commissioned By The 2011
Musicnow Festival For
Ymusic. ' This Piece Is
Based Around The Idea Of
Using The Widely Varying
Internal Rhythms Of The
Performers' Bodies As
Performance Parameters.
There Is No Actual Tempo
Or Meter Built Into The
Piece. The Breathing
Rates Of The Players Are
Used In Alternation With
The Individualperformers'
Heart Rates To Determine
The Pace At Which All Of
The Musical Material Is
Played. This Requires
That The Performers
Generally Play Quietly
And Delicately, So As To
Be Able To Hear Their
Heartbeats
Adequately.This, In
Combination With The
Natural Variance Between
The Different Heart
Rates, Results In A Kind
Of Delicate Musical
Pointillism: Starts And
Stops Which Are Somewhat
Staggered, Parts Which
Repeatedly Line Up And
Fall Out Of Synch With
Each Other, Different
Individuals' Pulses
Rising And Falling. The
Piece Is Never Performed
Exactly The Same Way
Twice. In This Piece, The
Pianists Wear
Stethoscopes Positioned
Over Their Hearts So That
Each Can Follow His Or
Her Own Heart Rate. Two
Eighth Notes (Quavers)
Correspond To The Two
Sounds Of A Single Normal
Heartbeat, And Performers
Should Match As Closely
As Possible The Staccato
And Irregular Rhythm They
Hear. The Strings Are
Instructed To 'Play To
Breath'; The Natural
Cycle Of One Inhalation
And One Exhalation, Or
Vice Versa, Will
Determine The Length Of
The Bar (Two Quarter
Notes/Crotchets) Without
Any Attempt To Make It
Metronomic. When One
Instrument Is Designated
The Leader, Their Breath
Will Determine The Starts
Of Phrases And The
Procession From One Bar
To The Next, Cuing Other
Parts If Necessary. ' -
Richard Reed Parry.
SATB choir and orchestra (2 ob, 2 bn, 3 tpt, timp, strings, cont.) - Moderately ...(+)
SATB choir and orchestra
(2 ob, 2 bn, 3 tpt, timp,
strings, cont.) -
Moderately Difficult
SKU:
OU.9780193352599
Composed by George
Frideric Handel. Edited
by Clifford Bartlett.
Sacred choral - mixed
voices. Classic Choral
Works. Full score. 160
pages. Duration 5', 12',
8', 11'. Oxford
University Press
#9780193352599. Published
by Oxford University
Press (OU.9780193352599).
ISBN 9780193352599. 12
x 9
inches.
These
four splendid anthems
were composed for the
coronation of George II
in October 1727 and have
since retained a position
at the heart of the
English choral tradition.
The popular anthem
Zadok the Priest
has been performed at all
subsequent coronations,
and Handel's other
contributions to the
royal occasion - Let
thy hand be
strengthened,
The King shall
rejoice, and My
heart is inditing -
have the same majestic
grandeur, with affecting
contrasts between
different sections of the
sacred texts. The editor,
Clifford Bartlett, has
corrected various
inconsistencies in
Handel's score, and
complete details of
sources and editorial
method, additional
performance notes, and a
critical commentary are
included.
About Classic
Choral
Works
Thes
e truly versatile and
user-friendly editions
offer a practical
approach for performers,
informed by the very
highest standard of
scholarship. - Fresh
editions by the very best
scholars in their field -
Clean and clear page
layout - Compositions
spanning the fourteenth
to nineteenth centuries -
Choral works with a wide
range of scorings, from
small chamber group to
full orchestra -
Informative prefaces
included in most of the
vocal scores - Playable
keyboard reductions for
rehearsal
Chords/Lyrics. By Elton John. By Elton John. The Little Black Songbook. Pop and ...(+)
Chords/Lyrics. By Elton
John. By Elton John. The
Little Black Songbook.
Pop and Rock. Book Only.
192 pages. Wise
Publications
#MUSAM1003794. Published
by Wise Publications
By Frank Sinatra. Arranged by Johnny Mandel, Jon Harpin. For big band with male ...(+)
By Frank Sinatra.
Arranged by Johnny
Mandel, Jon Harpin. For
big band with male vocal.
Swing. Medium. Full score
and set of parts.
Published by Lush Life
(A Fun and Comprehensive Beginning Method Featuring Rock, Blues, and Jazz Styles...(+)
(A Fun and Comprehensive
Beginning Method
Featuring Rock, Blues,
and Jazz Styles). By Rich
Hinman and Amanda Monaco.
For Guitar. Book; CD;
Guitar Method or
Supplement;
Method/Instruction. The
Total Guitarist.
Beginner. 128 pages.
Published by Alfred Music
Publishing
Orchestra String Orchestra - Grade 2.5 SKU: FJ.ST6496 Composed by Peter I...(+)
Orchestra String
Orchestra - Grade 2.5
SKU: FJ.ST6496
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Robert D McCashin.
Series; String Orchestra.
FJH Developing Strings.
Masterwork Arrangement.
Score and Part(s).
Duration 6:30. The FJH
Music Company Inc
#98-ST6496. Published by
The FJH Music Company Inc
(FJ.ST6496).
UPC:
241444413760.
English.
This
spectacular arrangement
features four movements
from Tchaikovsky's famous
Album for the Young.
Opening with the
endearing Morning Prayer,
the piece then moves into
the lighthearted waltz,
The Hurdy-Gurdy Man. The
beautiful Sweet Dream
sets the stage for the
delightful last movement,
March of the Wooden
Soldiers. Remarkably
faithful to the original
while also quite
accessible to younger
students! (6:30).
About FJH
Developing
Strings
Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5
Score Only.
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Robert D McCashin.
Series; String Orchestra.
FJH Developing Strings.
Masterwork Arrangement.
Score. The FJH Music
Company Inc #98-ST6496S.
Published by The FJH
Music Company Inc
(FJ.ST6496S).
English.
This
spectacular arrangement
features four movements
from Tchaikovsky's famous
Album for the Young.
Opening with the
endearing Morning Prayer,
the piece then moves into
the lighthearted waltz,
The Hurdy-Gurdy Man. The
beautiful Sweet Dream
sets the stage for the
delightful last movement,
March of the Wooden
Soldiers. Remarkably
faithful to the original
while also quite
accessible to younger
students!
About FJH
Developing
Strings
Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Piano/Vocal/Guitar SKU: HL.256650 Composed by Various. Piano/Vocal/Guitar...(+)
Piano/Vocal/Guitar
SKU: HL.256650
Composed by Various.
Piano/Vocal/Guitar
Songbook. Children,
Disney, Movies.
Softcover. 288 pages.
Published by Hal Leonard
(HL.256650).
ISBN
9781540015303. UPC:
888680723699.
9.0x12.0x0.78
inches.
This
updated 7th edition
coffee table collection
is a Disney lover's dream
come true! It is a guided
tour through the many
legendary years of Disney
music. The book begins
with an extensive musical
history of Disney,
followed by beautiful
piano/vocal arrangements
of 70 Disney classics.
Printed on deluxe stock
with more than 100
stunning full-color
illustrations
accompanying the text and
music, this book is a
keepsake to treasure for
years to come! Songs
include:
Bibbidi-Bobbidi-Boo (from
Cinderella) * Circle of
Life (from The Lion King)
* Evermore (from Beauty
and the Beast) * How Far
I'll Go (from Moana) * I
See the Light (from
Tangled) * Let It Go
(from Frozen) * Under the
Sea (from The Little
Mermaid) * When You Wish
Upon a Star (from
Pinocchio) * You've Got a
Friend in Me (from Toy
Story) * and more.
A Greensleeves
Fantasy. Composed by
Traditional. Arranged by
Nicolás Humberto
Repetto. Set of Score and
Parts. Duration 2
minutes, 24 seconds. Carl
Fischer Music #YAS220.
Published by Carl Fischer
Music (CF.YAS220).
ISBN 9781491162682.
UPC: 680160921430. Key: E
minor.
Heart of
Gold (A Greensleeves
Fantasy) is a fresh take
on a traditional
favorite, drawing its
name from the lyrics of
the original secular
song, “Greensleeves
was my delight,
Greensleeves was my heart
of gold.†The piece
starts with an
introduction that flows
into the familiar
poignant melody, using
beautiful and unexpected
harmonies for a
contemporary sound. The
Second Violins and Viola
have an opportunity to
shine as well as they
take over the theme with
a wonderful swelling
crescendo leading to the
heart of the piece. A
Solo Violin and Solo
Cello restate the melody
against the pizzicato
accompaniment motif
established in the
beginning. The Optional
Piano part adds magic and
enhances the
orchestration
throughout.Performance
Notes: Start the
introduction very
quietly. Exaggerate the
dynamics throughout. Make
the pizzicato nice and
full while staying under
the melody in the first
violins. At measure 13,
this countermelody in the
first violins should be
felt and not obscure the
Greensleeves melody
played by the second
violins and violas, so
make sure to balance it
accordingly. At measure
20, exaggerate the
crescendo and once forte
is reached, maintain that
intensity all the way to
the decrescendo at
measure 36. The solo
violin line should be
played with lots of
expression and soar above
the pizzicato figures.
Pizzicato figures should
be light and full, played
closer to the
fingerboard. At measure
45, the cello solo should
be strong and connected
singing high above the
rest of the sections.
Make sure the arco
strings in this section
do not overpower the
cello line.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
A Greensleeves
Fantasy. Composed by
Traditional. Arranged by
Nicolás Humberto
Repetto. Full score. 8
pages. Duration 2
minutes, 24 seconds. Carl
Fischer Music #YAS220F.
Published by Carl Fischer
Music (CF.YAS220F).
ISBN 9781491163023.
UPC: 680160921775. Key: E
minor.
Heart of
Gold (A Greensleeves
Fantasy) is a fresh take
on a traditional
favorite, drawing its
name from the lyrics of
the original secular
song, “Greensleeves
was my delight,
Greensleeves was my heart
of gold.†The piece
starts with an
introduction that flows
into the familiar
poignant melody, using
beautiful and unexpected
harmonies for a
contemporary sound. The
Second Violins and Viola
have an opportunity to
shine as well as they
take over the theme with
a wonderful swelling
crescendo leading to the
heart of the piece. A
Solo Violin and Solo
Cello restate the melody
against the pizzicato
accompaniment motif
established in the
beginning. The Optional
Piano part adds magic and
enhances the
orchestration
throughout.Performance
Notes: Start the
introduction very
quietly. Exaggerate the
dynamics throughout. Make
the pizzicato nice and
full while staying under
the melody in the first
violins. At measure 13,
this countermelody in the
first violins should be
felt and not obscure the
Greensleeves melody
played by the second
violins and violas, so
make sure to balance it
accordingly. At measure
20, exaggerate the
crescendo and once forte
is reached, maintain that
intensity all the way to
the decrescendo at
measure 36. The solo
violin line should be
played with lots of
expression and soar above
the pizzicato figures.
Pizzicato figures should
be light and full, played
closer to the
fingerboard. At measure
45, the cello solo should
be strong and connected
singing high above the
rest of the sections.
Make sure the arco
strings in this section
do not overpower the
cello line.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext. 1x
31.169/21 oboe d'amore 1,
1x 31.169/22 oboe d'amore
2, 1x 31.169/23 English
horn. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Whitsun. Set
of Orchestra Parts.
Composed 1726. BWV 169.
Duration 17 minutes.
Carus Verlag #CV
31.169/09. Published by
Carus Verlag
(CA.3116909).
ISBN
9790007209315. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
parts available
separately - see item
CA.3116900.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Whitsun.
Single Part, Viola.
Composed 1726. BWV 169. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.169/13. Published by
Carus Verlag
(CA.3116913).
ISBN
9790007209346. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Whitsun. Single Part,
Violin 2. Composed 1726.
BWV 169. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.169/12. Published by
Carus Verlag
(CA.3116912).
ISBN
9790007209339. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Whitsun. Single Part,
Violin 1. Composed 1726.
BWV 169. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.169/11. Published by
Carus Verlag
(CA.3116911).
ISBN
9790007209322. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
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