| Five Songs From Auvergne, Transcribed For Soprano, Wind Quintet And Heugel
(Chamber Ensemble) SKU: HL.48188972 Pour Soprano Quintette Vent Et Har...(+)
(Chamber Ensemble)
SKU: HL.48188972
Pour Soprano Quintette
Vent Et Harpe.
Composed by Joseph
Canteloube. Leduc.
Classical. CD. Heugel &
Cie #HE33873. Published
by Heugel & Cie
(HL.48188972). UPC:
888680874117. 9x12
inches. “Fren
ch composer, Joseph
Canteloube (1879-1957) is
best known for his Five
Songs from Auvergne.
Composed between 1923 and
1930 for Soprano and
Orchestra, Chris Allen's
arrangement of the
popular work for Soprano,
Wind Quintet and Harp
enforces the
composition's favour. The
Songs from Auvergne are a
collection of five
folksongs from the
Auvergne region of
France. Composed in the
local language of
Occitan, the best known
of the five songs is the
second,
Baïlèro,
which to this day,
remains frequently
performed and recorded.
Famous Sopranos who have
recorded Canteloube's
much loved work include,
Madeleine Grey, Dawn
Upshaw, Sarah Brightman
and Barbara Streisand.
For all Wind Quintets,
Sopranos and Harpists
seeking exciting ensemble
repertoire, Canteloube's
Five Songs from Auvergne
ensures a sublime
performance for both
performers and audiences
alike.&rdquo. $83.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cinq Chants D'Auvergne Heugel
SKU: BT.ALHE33873 Pour Soprano Quintette Vent Et Harpe. Composed b...(+)
SKU: BT.ALHE33873
Pour Soprano Quintette
Vent Et Harpe.
Composed by Joseph
Canteloube. Classical.
Book Only. Heugel & Cie
#ALHE33873. Published by
Heugel & Cie
(BT.ALHE33873).
French. French
composer, Joseph
Canteloube (1879-1957) is
best known for his Five
Songs from Auvergne.
Composed between 1923 and
1930 for Soprano and
Orchestra, Chris Allen's
arrangement of the
popular work for Soprano,
Wind Quintet andHarp
enforces the
composition's favour. The
Songs from Auvergne are a
collection of five
folksongs from the
Auvergne region of
France. Composed in the
local language of
Occitan, the best known
of the five songs is the
second,Ba lèro, which to
this day, remains
frequently performed and
recorded. Famous Sopranos
who have recorded
Canteloube's much loved
work include, Madeleine
Grey, Dawn Upshaw, Sarah
Brightman and Barbara
Streisand. For all
WindQuintets, Sopranos
and Harpists seeking
exciting ensemble
repertoire, Canteloube's
Five Songs from Auvergne
ensures a sublime
performance for both
performers and audiences
alike. $78.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lowest Trees Have Tops Flûte, alto et harpe [Conducteur et Parties séparées] Theodore Presser Co.
Cantata for Soprano, Flute, Viola and Harp On Sixteenth and Seventeenth Century ...(+)
Cantata for Soprano,
Flute, Viola and Harp On
Sixteenth and Seventeenth
Century English Poems. By
Peter Schickele. Text:
George Peele; Robert
Herrick; Sir Edward Dyer;
Sir Philip Sidney. Mixed
chamber ensemble. For
Soprano, Viola, Flute,
Harp. Score and parts. 36
pages. Duration 24:00:00.
Published by Theodore
Presser Company.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Un siecle de chansons francaises 1959-1969 Piano, Voix et Guitare [Conducteur] Beuscher
| | |
| Inventions from the Sacred Harp Orchestre d'harmonie - Avancé Curnow Music
Concert Band/Harmonie - Grade 5 SKU: BT.CMP-0916-05-010 Composed by James...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.CMP-0916-05-010
Composed by James Curnow.
Symphonic Band. Concert
Piece. Set (Score &
Parts). Composed 2005.
Curnow Music #CMP
0916-05-010. Published by
Curnow Music
(BT.CMP-0916-05-010).
English. We urge
you to look at this
important new composition
by James Curnow. This
symphonic variant style
treatment of themes based
on the shape-note tune
Resignation is a
magnificent compositional
exploration. Once your
group has achieved the
ability to perform at
this level of difficulty,
they deserve to play
music with the challenge
and masterful quality
that Inventions from the
Sacred Harp
presents. Even a brief
analysis of the score
reveals composition and
development techniques
that are reserved for
pieces on an impressive
scale. A more thorough
analysis lets you
appreciate the complexity
of the compositional
processes found in the
very fabric of this major
work.The historical
significance of The
Sacred Harp provides
the opportunity for some
cross-curricular work as
well.
Wanneer uw
orkest een bepaald niveau
heeft bereikt, kunt u
uitpakken met
Inventions from the
Sacred Harp. James
Curnow ontwikkelde
variaties in diverse
stijlen, gebaseerd op het
in Amerikaanse ‘shape
notes’ geschreven
stukResignation uit de
beroemde Sacred
Harp-collectie,
waarin liederen, hymnen,
psalmmelodieën en
volksliedbewerkingen van
vroege Amerikaanse
componisten zijn
opgenomen. Een complex,
niet onder één stijl
onder te brengen werk
datindrukwekkend is voor
zowel muzikanten als
publiek.
Wenn Ihr
Blasorchester ein
gewisses spielerisches
Niveau erreicht hat,
sollten Sie es mit einem
Stück wie Inventions
from the Sacred Harp
belohnen. James Curnow
entwickelte Variationen
in verschiedenen Stilen,
basierend auf dem in so
genannten shaped notes“
geschriebenen Stück
Resignation aus dem
berühmten Liederbuch
The Sacred Harp,
das Lieder, Hymnen,
Psalmenmelodien und
Volksliedbearbeitungen
früher amerikanischer
Komponisten enthält. Ein
komplexes, Genre
übergreifendes Werk voll
von besonderen
Kompositionsund
Entwicklungstechniken,
das Musiker und Publikum
tief beeindrucken
wird!
The
Sacred Harp (La Harpe
Sacrée) est un livre de
chants religieux nés
dans le Sud rural des
États- Unis au XIXe
siècle. James Curnow a
puisé dans le vaste
trésor que forment ces
psaumes et mélodies
polyphoniques chantés a
capella et écrits en
notation différenciée.
Inventions from The
Sacred Harp est un
ensemble d’inventions
qui constituent une
série de variations sur
la mélodie du Psaume
23. $184.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Messe de Minuit pour Noel Chorale 2 parties TB Carus Verlag
Mitternachtsmesse zu Weihnachten. Composed by Marc-Antoine Charpentier (1...(+)
Mitternachtsmesse zu
Weihnachten. Composed
by Marc-Antoine
Charpentier (1645-1704).
Edited by Hans Ryschawy.
This edition: urtext,
paperback. French Sacred
Music. Sacred vocal
music, Masses, Latin,
Christmas. Vocal score. H
9. 48 pages. Duration 25
minutes. Carus Verlag #CV
21.029/03. Published by
Carus Verlag
(CA.2102903).
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Semper Gratus - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS251F Composed
by Patrick Glenn Harper.
Full score. 25 pages.
Carl Fischer Music
#CPS251F. Published by
Carl Fischer Music
(CF.CPS251F). ISBN
9781491159880. UPC:
680160918478. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The piece
was written in honor of
James E. Champion, who
taught band for
thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.Â
And for that, I will
always be
grateful.Performance
NotesMeasures 1-12:Â Â
The beginning of the
piece should be performed
in a majestic,
fanfare-like style. The
woodwind cues should only
be used if absolutely
needed during this
section.Measures
41-58:Â Â The concert
toms should establish a
presence, but not
overpower the winds. Â
The triangle and
woodblock parts should be
heard distinctly over the
concert toms. A higher
pitched woodblock should
be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The entirety
of the middle section
should be played in a
rubato style to maximize
musical expression,
exaggerating dynamics and
ritardando sections. Â
The quarter-note triplets
in the middle and low
winds should be
emphasized at m. 70. Â
The molto ritardando that
begins at m. 70 should be
allowed to build as long
as possible in m. 71
before reaching the
musical apex of the
middle section at m. 72.
At mm. 92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure that
the eighth-note running
mallet parts are heard as
a background texture, but
do not overpower the
winds. In mm. 114–115,
the accents on beats 2
and 4 in the lower winds
should be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Semper Gratus - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1, Percussion 2 and more.
- Grade 3 SKU:
CF.CPS251 Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251). ISBN
9781491159873. UPC:
680160918461. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The piece
was written in honor of
James E. Champion, who
taught band for
thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.Â
And for that, I will
always be
grateful.Performance
NotesMeasures 1-12:Â Â
The beginning of the
piece should be performed
in a majestic,
fanfare-like style. The
woodwind cues should only
be used if absolutely
needed during this
section.Measures
41-58:Â Â The concert
toms should establish a
presence, but not
overpower the winds. Â
The triangle and
woodblock parts should be
heard distinctly over the
concert toms. A higher
pitched woodblock should
be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The entirety
of the middle section
should be played in a
rubato style to maximize
musical expression,
exaggerating dynamics and
ritardando sections. Â
The quarter-note triplets
in the middle and low
winds should be
emphasized at m. 70. Â
The molto ritardando that
begins at m. 70 should be
allowed to build as long
as possible in m. 71
before reaching the
musical apex of the
middle section at m. 72.
At mm. 92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure that
the eighth-note running
mallet parts are heard as
a background texture, but
do not overpower the
winds. In mm. 114–115,
the accents on beats 2
and 4 in the lower winds
should be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| David of the White Rock - Intermédiaire Anglo Music
Brass Ensemble and [Opt] Percussion - intermediate SKU: BT.AMP-511-070 (+)
Brass Ensemble and [Opt]
Percussion - intermediate
SKU:
BT.AMP-511-070
Welsh traditional
melody. Arranged by
Philip Sparke. Band
Section Series. Hymns &
Chorals. Set (Score &
Parts). Composed 2020.
Anglo Music Press #AMP
511-070. Published by
Anglo Music Press
(BT.AMP-511-070). ISBN
9789043160544.
English-German-French-Dut
ch. This is an
ancient Welsh air that
was first published in
Relics of the Welsh
Bards in 1794. Dafydd
(David) Owain was a
famous Welsh bard who
lived on a farm called
Garreg Wen (The White
Rock) in Eifionydd,
Carnarnvonshire,North
Wales. Tradition has it
that on his deathbed he
called for his harp and
composed this lovely
melody, requesting that
it be played at his
funeral. Accordingly, it
was later played at the
parish church of
Ynys-Cynhaiarn.Lyrics
were later added by
Ceiriog Hughes, which
describe the melody’s
inspiration.
Deze
eeuwenoude melodie uit
Wales werd in het jaar
1794 voor het eerst
gepubliceerd in Relics
of the Welsh Bards.
Dafydd (David) Owain was
een beroemde Welse bard
die woonde op Garreg Wen
(De Witte Rots), een
boerderij teEifionydd,
Carnarnvonshire, in het
noorden van Wales.
Volgens de overlevering
vroeg hij op zijn
sterfbed om zijn harp en
componeerde hij deze
fraaie melodie, met het
verzoek om die op zijn
uitvaart te laten spelen.
En zogeschiedde: het stuk
werd overeenkomstig zijn
wens gespeeld in de
dorpskerk van
Ynys-Cynhaiarn. De tekst,
die het ontstaan van de
melodie beschrijft, werd
later toegevoegd door de
dichter Ceiriog
Hughes.
Dies ist
eine alte walisische
Melodie, die 1794
erstmals in den Relics
of the Welsh Bards
veröffentlicht wurde.
Dafydd (David) Owain war
ein berühmter
walisischer Barde, der
auf einem Bauernhof
namens Garreg Wen (Der
weißeFelsen) in
Eifionydd,
Carnarnvonshire, in
Nordwales, lebte. Der
Ãœberlieferung zufolge
verlangte er auf dem
Sterbebett nach seiner
Harfe. Er komponierte
diese schöne Melodie und
wünschte sich, dass sie
bei seiner
Beerdigunggespielt
würde. Seinem Wunsch
entsprechend wurde die
Melodie dann in der
Pfarrkirche von
Ynys-Cynhaiarn gespielt.
Später fügte Ceiriog
Hughes einen Liedtext
hinzu, der die
Entstehungsgeschichte
dieser Melodie
beschreibt.
Voici
un ancien air gallois
publié pour la première
fois en 1794 dans le
recueil Musical Relics
of the Welsh Bards .
Célèbre poète gallois,
Dafydd (David) Owain
vivait dans une ferme
nommée Garreg Wen (le
Rocher blanc) Eifionydd,
dans le Caernarvonshire ,
Galles du Nord.
L’histoire raconte que,
sur son lit de mort, il
avait réclamé sa harpe
et composé cette
ravissante mélodie, en
demandant qu’elle soit
jouée ses obsèques.
Elle fut
doncinterprétée
l’église de la
paroisse de
Ynys-Cynhaiarn. Plus
tard, Ceiriog Hughes y
ajouta des paroles qui
décrivent l’origine de
la mélodie. $49.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Messe de Minuit pour Noel - Intermédiaire Carus Verlag
Soli SST(A)TB Voices, ST(A)TB Choir, 2 Fl, 2 Vl, 2 Va (Vl, Va), Vc/Tiorba/Org, B...(+)
Soli SST(A)TB Voices,
ST(A)TB Choir, 2 Fl, 2
Vl, 2 Va (Vl, Va),
Vc/Tiorba/Org, Basso
Continuo - Level 3
SKU: CA.2102913
Mitternachtsmesse zu
Weihnachten. Composed
by Marc-Antoine
Charpentier. Edited by
Hans Ryschawy. French
Sacred Music. Viola 2.
Sacred vocal music,
Masses, Latin, Christmas.
Single Part, Viola 2. H
9. 12 pages. Duration 25
minutes. Carus Verlag #CV
21.029/13. Published by
Carus Verlag
(CA.2102913). ISBN
9790007198213. Text
language:
Latin. Marc-Antoine
Charpentier's Christmas
mass, the Messe de
Minuit, is throughly in
the French tradition,
celebrating the joyful
news of the Birth of
Christ with cheerful
happiness. In this
midnight mass, composed
in 1694, ten traditional
French Christmas hymns
have been rearranged,
lending the work a
dance-like energy
alongside charming tone
coloring. In independent
movements the relatively
small instrumental
ensemble consisting of
two flutes, strings and
organ plays a significant
role in the musical
events of this mass,
alternating with various
combinations of the vocal
parts. Solo voices are
only used together in
small ensembles and, in
accordance with the
practices of the period,
the boundaries between
solo ensemble and choir
are fluid, meaning that
these solo passages can
also be sung by members
of the choir. Score and
part available separately
- see item
CA.2102900. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Messe de Minuit pour Noel - Intermédiaire Carus Verlag
Soli SST(A)TB Voices, ST(A)TB Choir, 2 Fl, 2 Vl, 2 Va (Vl, Va), Vc/Tiorba/Org, B...(+)
Soli SST(A)TB Voices,
ST(A)TB Choir, 2 Fl, 2
Vl, 2 Va (Vl, Va),
Vc/Tiorba/Org, Basso
Continuo - Level 3
SKU: CA.2102912
Mitternachtsmesse zu
Weihnachten. Composed
by Marc-Antoine
Charpentier. Edited by
Hans Ryschawy. French
Sacred Music. Viola 1.
Sacred vocal music,
Masses, Latin, Christmas.
Single Part, Viola 1. H
9. 24 pages. Duration 25
minutes. Carus Verlag #CV
21.029/12. Published by
Carus Verlag
(CA.2102912). ISBN
9790007198206. Text
language:
Latin. Marc-Antoine
Charpentier's Christmas
mass, the Messe de
Minuit, is throughly in
the French tradition,
celebrating the joyful
news of the Birth of
Christ with cheerful
happiness. In this
midnight mass, composed
in 1694, ten traditional
French Christmas hymns
have been rearranged,
lending the work a
dance-like energy
alongside charming tone
coloring. In independent
movements the relatively
small instrumental
ensemble consisting of
two flutes, strings and
organ plays a significant
role in the musical
events of this mass,
alternating with various
combinations of the vocal
parts. Solo voices are
only used together in
small ensembles and, in
accordance with the
practices of the period,
the boundaries between
solo ensemble and choir
are fluid, meaning that
these solo passages can
also be sung by members
of the choir. Score and
part available separately
- see item
CA.2102900. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Messe de Minuit pour Noel - Intermédiaire Carus Verlag
Soli SST(A)TB Voices, ST(A)TB Choir, 2 Fl, 2 Vl, 2 Va (Vl, Va), Vc/Tiorba/Org, B...(+)
Soli SST(A)TB Voices,
ST(A)TB Choir, 2 Fl, 2
Vl, 2 Va (Vl, Va),
Vc/Tiorba/Org, Basso
Continuo - Level 3
SKU: CA.2102914
Mitternachtsmesse zu
Weihnachten. Composed
by Marc-Antoine
Charpentier. Edited by
Hans Ryschawy. French
Sacred Music.
Violoncello. Sacred vocal
music, Masses, Latin,
Christmas. Single Part,
Cello. H 9. 20 pages.
Duration 25 minutes.
Carus Verlag #CV
21.029/14. Published by
Carus Verlag
(CA.2102914). ISBN
9790007198220. Text
language:
Latin. Marc-Antoine
Charpentier's Christmas
mass, the Messe de
Minuit, is throughly in
the French tradition,
celebrating the joyful
news of the Birth of
Christ with cheerful
happiness. In this
midnight mass, composed
in 1694, ten traditional
French Christmas hymns
have been rearranged,
lending the work a
dance-like energy
alongside charming tone
coloring. In independent
movements the relatively
small instrumental
ensemble consisting of
two flutes, strings and
organ plays a significant
role in the musical
events of this mass,
alternating with various
combinations of the vocal
parts. Solo voices are
only used together in
small ensembles and, in
accordance with the
practices of the period,
the boundaries between
solo ensemble and choir
are fluid, meaning that
these solo passages can
also be sung by members
of the choir. Score and
part available separately
- see item
CA.2102900. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Star-Spangled Banner Chorale SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.47550 Composed by John Stafford Smith....(+)
Choir Secular (SATB
choir) SKU:
AP.47550 Composed by
John Stafford Smith.
Arranged by Connor Smith
and Desmond Clark.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
4th of July; Patriotic;
Secular. Choral Octavo. 8
pages. Alfred Music
#00-47550. Published by
Alfred Music (AP.47550).
UPC: 038081542430.
English. Francis Scott
Key. Here's a fresh
arrangement of the
national anthem that is
spot on for contemporary
a cappella singers! A
cool combination of the
traditional and the
creative, this unique
setting is sure to
inspire and impress.
Perform at concerts,
assemblies, games, and
events. Scattered divisi
in all voice parts
sharpens the fresh
sonorities.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Messe de Minuit pour Noel - Intermédiaire Carus Verlag
Soli SST(A)TB Voices, ST(A)TB Choir, 2 Fl, 2 Vl, 2 Va (Vl, Va), Vc/Tiorba/Org, B...(+)
Soli SST(A)TB Voices,
ST(A)TB Choir, 2 Fl, 2
Vl, 2 Va (Vl, Va),
Vc/Tiorba/Org, Basso
Continuo - Level 3
SKU: CA.2102911
Mitternachtsmesse zu
Weihnachten. Composed
by Marc-Antoine
Charpentier. Edited by
Hans Ryschawy. French
Sacred Music. Violin.
Sacred vocal music,
Masses, Latin, Christmas.
Single Part, Violin. H 9.
12 pages. Duration 25
minutes. Carus Verlag #CV
21.029/11. Published by
Carus Verlag
(CA.2102911). ISBN
9790007198190. Text
language:
Latin. Marc-Antoine
Charpentier's Christmas
mass, the Messe de
Minuit, is throughly in
the French tradition,
celebrating the joyful
news of the Birth of
Christ with cheerful
happiness. In this
midnight mass, composed
in 1694, ten traditional
French Christmas hymns
have been rearranged,
lending the work a
dance-like energy
alongside charming tone
coloring. In independent
movements the relatively
small instrumental
ensemble consisting of
two flutes, strings and
organ plays a significant
role in the musical
events of this mass,
alternating with various
combinations of the vocal
parts. Solo voices are
only used together in
small ensembles and, in
accordance with the
practices of the period,
the boundaries between
solo ensemble and choir
are fluid, meaning that
these solo passages can
also be sung by members
of the choir. Score and
part available separately
- see item
CA.2102900. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Historia di Jephte - Intermédiaire Carus Verlag
Solo voices or mixed chorus, basso continuo - Grade 3 SKU: CA.1004305 ...(+)
Solo voices or mixed
chorus, basso continuo -
Grade 3 SKU:
CA.1004305
Oratorio. Composed
by Giacomo Carissimi.
Edited by Wolfgang
Hochstein. Choral Score.
Composed 1640 (ca.).
Duration 23 minutes.
Carus Verlag #1004305.
Published by Carus Verlag
(CA.1004305). ISBN
9790007294809.
Latin. The
harrowing Old Testament
story of the army
commander Jephthah, bound
by a sacred vow to kill
his daughter, inspired
the Roman composer
Giacomo Carissimi to
create this intense and
moving setting. Written
in the 1640s, Historia di
Jephte is not only one of
the earliest oratorios,
but also one of its
greatest.Scored
for just six solo voices
in diverse combinations
accompanied by basso
continuo, Carissimi
presents the Latin
biblical text in the
recitative style of the
early Baroque. He
nonetheless repeatedly
abandons this style to
highlight the plot's
tragic events, employing
all expressive Affekts he
had available to him. The
chromatic voice-leading
and thrilling
harmonization of the
lamentations and
Jephthah’s dialogue
with his doomed daughter
create an intense and
anguished
atmosphere.While
scholars believe that the
choir originally
consisted of six solo
parts, the work does not
suffer when performed by
a larger ensemble. To
commemorate the 350th
anniversary of the
composer’s death, Carus
is publishing this new
critical edition based on
the copy made by
Carissimi’s pupil,
Marc-Antoine Charpentier.
A continuo realization is
included in the
score. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Historia di Jephte - Intermédiaire Carus Verlag
Solo voices or mixed chorus, basso continuo - Grade 3 SKU: CA.1004349 ...(+)
Solo voices or mixed
chorus, basso continuo -
Grade 3 SKU:
CA.1004349
Oratorio. Composed
by Giacomo Carissimi.
Edited by Wolfgang
Hochstein. Composed 1640
(ca.). Duration 23
minutes. Carus Verlag
#1004349. Published by
Carus Verlag
(CA.1004349). ISBN
9790007310929.
Latin. The
harrowing Old Testament
story of the army
commander Jephthah, bound
by a sacred vow to kill
his daughter, inspired
the Roman composer
Giacomo Carissimi to
create this intense and
moving setting. Written
in the 1640s, Historia di
Jephte is not only one of
the earliest oratorios,
but also one of its
greatest.Scored
for just six solo voices
in diverse combinations
accompanied by basso
continuo, Carissimi
presents the Latin
biblical text in the
recitative style of the
early Baroque. He
nonetheless repeatedly
abandons this style to
highlight the plot's
tragic events, employing
all expressive Affekts he
had available to him. The
chromatic voice-leading
and thrilling
harmonization of the
lamentations and
Jephthah’s dialogue
with his doomed daughter
create an intense and
anguished
atmosphere.While
scholars believe that the
choir originally
consisted of six solo
parts, the work does not
suffer when performed by
a larger ensemble. To
commemorate the 350th
anniversary of the
composer’s death, Carus
is publishing this new
critical edition based on
the copy made by
Carissimi’s pupil,
Marc-Antoine Charpentier.
A continuo realization is
included in the
score. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Historia di Jephte - Intermédiaire Carus Verlag
Solo voices or mixed chorus, basso continuo - Grade 3 SKU: CA.1004300 ...(+)
Solo voices or mixed
chorus, basso continuo -
Grade 3 SKU:
CA.1004300
Oratorio. Composed
by Giacomo Carissimi.
Edited by Wolfgang
Hochstein. Carus digital:
Extra digital products.
Full Score. Composed 1640
(ca.). Duration 23
minutes. Carus Verlag
#1004300. Published by
Carus Verlag
(CA.1004300). ISBN
9790007294793.
Latin. The
harrowing Old Testament
story of the army
commander Jephthah, bound
by a sacred vow to kill
his daughter, inspired
the Roman composer
Giacomo Carissimi to
create this intense and
moving setting. Written
in the 1640s, Historia di
Jephte is not only one of
the earliest oratorios,
but also one of its
greatest.Scored
for just six solo voices
in diverse combinations
accompanied by basso
continuo, Carissimi
presents the Latin
biblical text in the
recitative style of the
early Baroque. He
nonetheless repeatedly
abandons this style to
highlight the plot's
tragic events, employing
all expressive Affekts he
had available to him. The
chromatic voice-leading
and thrilling
harmonization of the
lamentations and
Jephthah’s dialogue
with his doomed daughter
create an intense and
anguished
atmosphere.While
scholars believe that the
choir originally
consisted of six solo
parts, the work does not
suffer when performed by
a larger ensemble. To
commemorate the 350th
anniversary of the
composer’s death, Carus
is publishing this new
critical edition based on
the copy made by
Carissimi’s pupil,
Marc-Antoine Charpentier.
A continuo realization is
included in the
score. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Talon Orchestre d'harmonie - Facile RWS Music Company
Grade 2 SKU: CL.RWS-1923-00 Composed by Bankston. Young Concert Band. Sco...(+)
Grade 2 SKU:
CL.RWS-1923-00
Composed by Bankston.
Young Concert Band. Score
and set of parts.
Composed 2019. RWS Music
Company #RWS-1923-00.
Published by RWS Music
Company (CL.RWS-1923-00).
Edgy
percussion, heroic
melodies, colorful
harmonies and forward
momentum propel this
adventurous theme and
your band to musical
success. Brian Bankston
provides a great
opportunity to sharpen
your percussionist’s
rhythmic accuracy and
style. In addition, Talon
reinforces articulations,
dynamics and phrasing
throughout the full
ensemble. Add energy to
your next performance and
lift your next audience
with this razor-sharp
work! $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Historia di Jephte - Intermédiaire Carus Verlag
Solo voices or mixed chorus, basso continuo - Grade 3 SKU: CA.1004311 ...(+)
Solo voices or mixed
chorus, basso continuo -
Grade 3 SKU:
CA.1004311
Oratorio. Composed
by Giacomo Carissimi.
Edited by Wolfgang
Hochstein. Single Part,
basso continuo. Composed
1640 (ca.). Duration 23
minutes. Carus Verlag
#1004311. Published by
Carus Verlag
(CA.1004311). ISBN
9790007310912.
Latin. The
harrowing Old Testament
story of the army
commander Jephthah, bound
by a sacred vow to kill
his daughter, inspired
the Roman composer
Giacomo Carissimi to
create this intense and
moving setting. Written
in the 1640s, Historia di
Jephte is not only one of
the earliest oratorios,
but also one of its
greatest.Scored
for just six solo voices
in diverse combinations
accompanied by basso
continuo, Carissimi
presents the Latin
biblical text in the
recitative style of the
early Baroque. He
nonetheless repeatedly
abandons this style to
highlight the plot's
tragic events, employing
all expressive Affekts he
had available to him. The
chromatic voice-leading
and thrilling
harmonization of the
lamentations and
Jephthah’s dialogue
with his doomed daughter
create an intense and
anguished
atmosphere.While
scholars believe that the
choir originally
consisted of six solo
parts, the work does not
suffer when performed by
a larger ensemble. To
commemorate the 350th
anniversary of the
composer’s death, Carus
is publishing this new
critical edition based on
the copy made by
Carissimi’s pupil,
Marc-Antoine Charpentier.
A continuo realization is
included in the
score. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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