Early Music / Renaissance, Saddle-stitched. Country. Book and online audio. 10...(+)
Early Music /
Renaissance,
Saddle-stitched. Country.
Book
and online audio. 100
pages.
Mel Bay Publications, Inc
#96573M. Published by Mel
Bay
Publications, Inc
Baritone Voice and Piano - Intermediate SKU: FP.FMJ02 Composed by John Ma...(+)
Baritone Voice and Piano
- Intermediate
SKU:
FP.FMJ02
Composed by
John Manduell. Sheet
Music and Books. Songs
for baritone voice and
piano, inspired by Sir
John Manduell’s
long-standing love of
French renaissance verse.
Classical. Vocal Score.
Forsyths Publications
#FMJ02. Published by
Forsyths Publications
(FP.FMJ02).
ISBN
9790570503896.
A
wonderfully balanced and
yet contrasting set of
songs for baritone voice
and piano, inspired by
Sir John
Manduell’s
long-standing love of
French renaissance
verse.
In the
first, perhaps the most
often quoted of Ronsard's
poems, the poet invites
young Mignonne to come
and look at the purple
rose and to realise that
her beauty like the
rose's will fade all too
soon. Du Bellary's poem
is redolent of late
summer heat and haze as
the thresher of the title
calmly pursues his work.
The Marot is a brief
exercise in courteous
mockery as the poet
chides his ailing lady
upon her gastronomic
self-indulgence and warns
her of the inevitable
consequences upon her
figure.
Finally
published in 2013, Trois
Chansons is one of the of
the composer’s
earliest surviving works,
written while he was
studying with the late
Sir Lennox Berkely as a
postgraduate student at
the Royal Academy of
Music. The first
performance was given by
Beverley Humphreys at the
Royal Academy of Music in
1956.
Fantasia Di Pasqua Ensemble de cuivres [Conducteur et Parties séparées] De Haske Publications
Brass Band SKU: BT.DHP-1053796-030 Easter Fantasy. Composed by Mic...(+)
Brass Band
SKU:
BT.DHP-1053796-030
Easter Fantasy.
Composed by Michael
Bilkes. Musica Sacra.
Hymns & Chorals. Set
(Score & Parts). Composed
2005. De Haske
Publications #DHP
1053796-030. Published by
De Haske Publications
(BT.DHP-1053796-030).
English-German-French-
Dutch.
Fantasia
di Pasqua is a
fantasy in which
traditional Easter
melodies have been used.
The work is written for
brass band with a
separate brass quartet
which, since this music
is often performed in
churches, the composer
suggests should be
positioned on a gallery.
This creates a double
choir effect and
perfectly fits the
Renaissance-like style.
Each of the melodies is
played in various
dance-like cadences that,
partly because of the
double choir effect, will
result in a very lively
and original
performance.
In
Fantasia di Pasqua
speelt het (koper)kwartet
een cruciale rol. De
componist raadt aan dit
kwartet vanuit een
galerij te laten spelen:
de zo gecreëerde
dubbelkorigheid past bij
de enigszins
renaissancistische stijl
van hetwerk. De gebruikte
koraalmelodieën worden
alle - veelal dansrijk -
door het kwartet
uitgevoerd in diverse
cadansen, die mede door
de dubbelkorigheid
resulteren in een
levendige en afwisselende
uitvoering. Het kwartet
hoeft nietper se te
bestaan uit twee
trompetten (cornetten) en
twee trombones, maar kan
naar believen worden
samengesteld.
In
Fantasia di Pasqua
wurden traditionelle
Osterlieder verwendet.
Das Stück ist für
Brass Band mit separatem
Blechbläserquartett
geschrieben, welches bei
Aufführungen in der
Kirche von der Empore
herab spielen sollte. Der
so kreierte
Doppelchor-Effekt passt
ausgezeichnet zum etwas
Renaissance artigen Stil,
der bewusst gewählt
wurde, da die meisten
Choralmelodien aus der
Renaissance stammen. Auf
diese Weise gelingt eine
sehr lebhafte und
abwechslungsreiche
Aufführung der
Fantasia di
Pasqua.
SKU: GI.G-1036 Choral Masterworks Given New Life. Composed by Denn...(+)
SKU: GI.G-1036
Choral Masterworks
Given New Life.
Composed by Dennis
Shrock. Classical. GIA
Publications #1036.
Published by GIA
Publications (GI.G-1036).
UPC:
785147003625.
Renai
ssance Reborn was, first,
the title of a lecture on
performance practices
given at the 2017
national conference of
the American Choral
Directors Association.
Along with the subtitle
“Breathing New Life
into Renaissance
Music,†the lecture
presented historically
informed practices that
dealt with the subjects
of vocal and instrumental
forces, sound and pitch,
meter and tactus, tempo,
phrasing, structure,
music dicta and music
recta, text underlay,
ornamentation, and
expression–all the
practices supported by
primary sources from the
Renaissance era and all
the music became like
restored art works that
revealed their original
rich and bright colors.
The lecture led to the
writing of the book
Performing Renaissance
Music, with expanded
material and musical
examples, and to the
recording of this CD,
which incorporates the
historical practices.Â
The repertoire is from
the apex of the era
(1538–1618), it
includes common genres of
the time (motet, mass,
and madrigal) and the
most esteemed composers
from across Europe.
In Nomine Ensemble de cuivres [Conducteur et Parties séparées] Winwood Music
By Orlando Gibbons (1583-1625). Arranged by Elgar Howarth. Brass Ensemble. For 1...(+)
By Orlando Gibbons
(1583-1625). Arranged by
Elgar Howarth. Brass
Ensemble. For 10-Piece
Brass Ensemble. A gem
from the English
Renaissance. Renaissance.
Medium. Score and parts.
Standard Notation.
Duration 4:45. Published
by Winwood Music . Score
and Parts. Renaissance.
Fantasia Di Pasqua Ensemble de cuivres [Conducteur] De Haske Publications
Brass Band SKU: BT.DHP-1053796-130 Easter Fantasy. Composed by Mic...(+)
Brass Band
SKU:
BT.DHP-1053796-130
Easter Fantasy.
Composed by Michael
Bilkes. Musica Sacra.
Hymns & Chorals. Score
Only. Composed 2005. 24
pages. De Haske
Publications #DHP
1053796-130. Published by
De Haske Publications
(BT.DHP-1053796-130).
English-German-French-
Dutch.
Fantasia
di Pasqua is a
fantasy in which
traditional Easter
melodies have been used.
The work is written for
brass band with a
separate brass quartet
which, since this music
is often performed in
churches, the composer
suggests should be
positioned on a gallery.
This creates a double
choir effect and
perfectly fits the
Renaissance-like style.
Each of the melodies is
played in various
dance-like cadences that,
partly because of the
double choir effect, will
result in a very lively
and original
performance.
In
Fantasia di Pasqua
speelt het (koper)kwartet
een cruciale rol. De
componist raadt aan dit
kwartet vanuit een
galerij te laten spelen:
de zo gecreëerde
dubbelkorigheid past bij
de enigszins
renaissancistische stijl
van hetwerk. De gebruikte
koraalmelodieën worden
alle - veelal dansrijk -
door het kwartet
uitgevoerd in diverse
cadansen, die mede door
de dubbelkorigheid
resulteren in een
levendige en afwisselende
uitvoering. Het kwartet
hoeft nietper se te
bestaan uit twee
trompetten (cornetten) en
twee trombones, maar kan
naar believen worden
samengesteld.
In
Fantasia di Pasqua
wurden traditionelle
Osterlieder verwendet.
Das Stück ist für
Brass Band mit separatem
Blechbläserquartett
geschrieben, welches bei
Aufführungen in der
Kirche von der Empore
herab spielen sollte. Der
so kreierte
Doppelchor-Effekt passt
ausgezeichnet zum etwas
Renaissance artigen Stil,
der bewusst gewählt
wurde, da die meisten
Choralmelodien aus der
Renaissance stammen. Auf
diese Weise gelingt eine
sehr lebhafte und
abwechslungsreiche
Aufführung der
Fantasia di
Pasqua.
Hodie Christus Natus Est Ensemble de Trompettes [Conducteur et Parties séparées] Eighth Note Publications
By Jan Pieterszoon Sweelinck (1562-1621). Arranged by David Marlatt. For 6 Trump...(+)
By Jan Pieterszoon
Sweelinck (1562-1621).
Arranged by David
Marlatt. For 6 Trumpets.
Brass - Large Cornet
(Trumpet) Ensemble;
Masterworks; Part(s);
Score. Eighth Note
Publications.
Renaissance. Duration
00:03:25. Published by
Eighth Note Publications
By Thomas Tallis (1505-1585). Choir Sacred. For with Piano (SATB choir). Book; C...(+)
By Thomas Tallis
(1505-1585). Choir
Sacred. For with Piano
(SATB choir). Book;
Choral (Sacred); Choral
Worship Collection;
Masterworks; Worship
Resources. Faber Edition:
Choral Programme Series.
Masterwork; Renaissance;
Sacred. Published by
Faber Music
Ave Maria Chorale SATB SATB A Cappella [Octavo] CanticaNOVA Publications
Composed by Tomas Luis de Victoria (1548-1611). Edited by Andrea Angelini. Text:...(+)
Composed by Tomas Luis de
Victoria (1548-1611).
Edited by Andrea
Angelini. Text: Hail
Mary. Renaissance
treasure. Marian. Octavo.
Published by CanticaNOVA
Publications (C5.7019).
In Nomine Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire Winwood Music
By Alfonso Ferrabosco II. Arranged by Elgar Howarth. For 10-piece Brass Ensemble...(+)
By Alfonso Ferrabosco II.
Arranged by Elgar
Howarth. For 10-piece
Brass Ensemble. A gem
from the English
Renaissance. Renaissance.
Medium. Score and parts.
Staff Notation. Duration
3:00. Published by
Winwood Music
The Renaissance Fair Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school,...(+)
By Bob Margolis (After
Claude Gervaise). Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
By Samuel Scheidt (1587-1654). Arranged by David Marlatt. For Brass Quintet. Bra...(+)
By Samuel Scheidt
(1587-1654). Arranged by
David Marlatt. For Brass
Quintet. Brass Ensemble -
Quintet; Masterworks;
Part(s); Score. Eighth
Note Publications.
Renaissance. Duration
00:03:40. Published by
Eighth Note Publications
By Samuel Scheidt (1587-1654). Arranged by David Marlatt. For 5 Trumpets. Brass ...(+)
By Samuel Scheidt
(1587-1654). Arranged by
David Marlatt. For 5
Trumpets. Brass - Cornet
(Trumpet) Quintet;
Masterworks. Renaissance.
Duration 00:03:40
Recorder; Methods and Music for Children; Early Music SKU: UT.HS-303 V...(+)
Recorder; Methods and
Music for Children; Early
Music
SKU:
UT.HS-303
Vol. 2:
Intermediate Level.
Edited by Nicola Sansone.
Saddle stitching.
Classical. Ut Orpheus #HS
303. Published by Ut
Orpheus (UT.HS-303).
ISBN 9790215327016. 9
x 12 inches.
This
two-volume anthology has
been designed on the
living experience of
teaching as material
intended for descant
recorder players at the
beginner and intermediate
level. The progressive
order allows an approach
to ensemble music,
starting from the use of
just the notes of the
left hand, and proceeds
with the acquisition of
the new positions
reaching the chromatic
range of an octave and a
sixth. The repertoire
used consists exclusively
of dance music from the
French and Flemish area
contained in various
collections published
between 1530 and 1583 by
various composers and
editors. This choice was
dictated by a number of
different factors: the
extremely clear and
symmetrical metric and
formal schemes typical of
the Renaissance dance
form, with due and useful
exceptions, help to
understand the concept of
musical phrase; the use
of coded and recurring
rhythmic formulas makes
it possible to perfect
the rhythmic division;
harmony based mostly on
the basic steps helps to
form an experience of
listening, intonation and
understanding of the main
harmonic functions. No
less significant are
other elements, such as
variety in the length of
the pieces, from a few
bars up to several dozen,
which favours the
development of
concentration and
attention, with the same
technical difficulties.
Above all, however, the
vastness of the
repertoire, more than 500
compositions, makes it
possible to choose and
order the pieces with an
idea of
​​technical
and musical
progressiveness
comparable to that of a
method. The edition
is produced in such a way
that all the pieces can
be performed in four
parts except for some in
five parts, in different
ensembles. The most basic
is in reduced three-part
form of descant, tenor
and bass, the latter two
are given respectively to
the right and left hand
of the keyboard player.
Since recorders play at
the octave above, the
tenor part is also
transposed in the same
way to make the sound of
the three upper voices
homogeneous, while the
bass retains its original
range. It is also
possible to enlarge the
group to play the full
four voices with the
addition of an alto or
tenor recorder playing
the alto part, available
in the separate part, and
two more instruments,
tenor and bass recorders
or others, performing the
respective lines alone or
doubling with the
keyboard.
