For Violin Cello and Piano. Composer's Notes 'Even though this work was intended to celebrate (as instructed by the commissioner Brolly Arts of Salt LakeCity) the wildlife and landscape of Utah (and especially its birdlife notably the sora which has a noticeable influence on the melodic writing at times) the title refers ironically in this 'natural' context to the re-seeing’of (mainly industrial) reality in early Soviet photography. Aleksandr Rodchenko (1881-1956) drew attention to the new type of photographer as someone who photographs 'facts' and who is able through photography to fight against'looking like art' with high quality examples and to do this you have to experiment going as far as the ‘easelisation’ of the photographic art.The work was written for and first performed by the Ahn Trio in November2004 in Salt Lake City and is dedicated to the memory of John Peel the British radio disc jockey who died during the final stages of its composition.' - Michael Nyman

Following on from the first volume of his bestselling Beginner's Songbook, Volume 2 boasts another 100 classic songs from the past and present, specially arranged for beginner guitarists. Featuring complete lyrics and chords, as well as tuition notes, with invaluable advice on strumming, chords and general playing tips. The Justinguitar.com Beginner's Songbook Volume 2 is a great companion to Justin's beginner Guitar method, with ten songs for each stage of the course, progressing in difficulty. The songs range from the past to the present and represent a variety of genres, ranging from songs with only two or three chords like Bad Moon Rising, For What It's Worth and Stir It Up through to tunes like Get Lucky and Budapest, all the way to songs like Hold Back The River and Ziggy Stardust, with more complicated rhythms, chords and strumming. Every song features full lyrics and chords, strumming patterns as well as advice about tricky aspects of the song, or just general performance tips. If you need help with the chords, diagrams are included so that you always have a reference. As your playing develops through the course, the best way to practise is to play along to your favourite tunes, and the Justinguitar.com Beginner's Songbook Volume 2 is the best way to expand your repertoire at the level of your ability. Featuring 100 songs by artists like The Beatles, Ed Sheeran, Bob Marley, Maroon 5, Nirvana and The Rolling Stones, this songbook is a fantastic collection, an invaluable companion to the influential course, and a brilliant follow-up to volume 1, which has sold over 100,000 copies. / Guitare

Kantate Zum Ersten Ostertag. Par BACH JOHANN SEBASTIAN. The words are based on the Easter Gospel, the account of the Resurrection of Jesus, which is first joyfully celebrated. Then follows a call to the faithful: every Christian must make the Resurrection a reason to renew himself spiritually, so as to complete a kind of inner Resurrection himself. For his scoring – which changed slightly from performance to performance – Bach called upon a five-part choir, three trumpets and timpani, three oboes, taille and bassoon, strings and basso continuo./ Répertoire / Solistes STB, Choeur SSATB, Hautbois (2 Hautbois,

Kantate Zum Ersten Ostertag. Par BACH JOHANN SEBASTIAN. The words are based on the Easter Gospel, the account of the Resurrection of Jesus, which is first joyfully celebrated. Then follows a call to the faithful: every Christian must make the Resurrection a reason to renew himself spiritually, so as to complete a kind of inner Resurrection himself. For his scoring – which changed slightly from performance to performance – Bach called upon a five-part choir, three trumpets and timpani, three oboes, taille and bassoon, strings and basso continuo./ Répertoire / Solistes STB, Choeur SSATB, Hautbois (2 Hautbois,

A grand Palm Sunday anthem this majestic call to praise honors Jesus the King as He enters the city with a procession of palms. Add the congregation to join in the Hosanna! along with the tasteful complement of the organ brassquintet and percussion to fill the sanctuary with regal celebration!

Uses: General Call to Worship Scripture: Ecclesiastes 3:1; Psalm 69:30; Psalm 150 The title says it all! This anthem of worship and praise is filled to the brim with jubilation and the spirit of celebration. Rhythmically engaging and melodically compelling the driving allure of this piece is undeniable. Walking the line between traditional and contemporary this is an ideal choice for blended music programs. Score and Parts (fl 1-2 ob cl 1-2 bn tpt 1-3 hn tbn 1-2 tbn 3/tba perc 1-2 timp hp vn 1-2 va vc db) available on CD-ROM and as a digital download.

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Tom Fettke's original lyrics to a popular Christmas carol are fresh and uplifting. Use this vibrant anthem as an introit or call to worship for a Hanging of the Greens service or any celebratory service of the Christmas season.Duration: 3:00. Available separately: SATB ChoirTrax CD. Orchestra Score and Parts available as print or digital download (2120/2331/3/3/88421).

Enjoy a special selection of songs from the greatest female voices of music! Thirty-six classic songs from across the world have been assembled to celebrate the very best in female performance from the 1950s to the present day. Capture the poignant protest blues of Billy Holiday and Nina Simone, the sassy charm of Petula Clark and Nancy Sinatra, the powerful soul of Etta James and Aretha Franklin, the heartbreaking delicacy of The Carpenters or the bombastic performances of Tina Turner and Shirley Bassey. All the songs chosen have been arranged for Piano and Voice with Guitar chords. / Piano/Vocal/Guitare (PVG)

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Uses: General Thanksgiving EastertideScripture: Colossians 3:16-17; Psalm 100:4; I Thessalonians 5:18Springing from the pages of Scripture this anthem evokes a spirit of thanksgiving in its musicaland textural approach. Beginning with a free-formed passage that acts as a vocal introduction the anthem eventually surrenders to a lilting 6/8 theme that has a memorable contour and gait. The rhythmic energy of thisceltic-styled praise song creates a vibrant call to praise for any worship service. Available separately: SATB StudioTrax CD (Accomp. SplitTrax Perf.) Orchestration (Score & parts for guitar flute [penny whistle] percussion violin cello). Duration: ca. 3:03.