Be Still, My Soul Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Arranged by R.W. Smith. For concert band. Young Band. Sound Foundations. Real mu...(+)
Arranged by R.W. Smith.
For concert band. Young
Band. Sound Foundations.
Real music using only the
first 6 notes!. .5. Score
and parts. Composed 2010.
Duration 2 minutes, 36
seconds. Published by
C.L. Barnhouse
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Foundation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Mark Camphouse. For Concert Band. Concert Band. Alfred Concert Band. Hymn. Le...(+)
By Mark Camphouse. For
Concert Band. Concert
Band. Alfred Concert
Band. Hymn. Level: 5
(Difficult) (grade 5).
Conductor Score and
Parts. 304 pages.
Published by Alfred
Publishing.
Foundation Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
By Mark Camphouse. For Concert Band. Concert Band. Alfred Concert Band. Level: 5...(+)
By Mark Camphouse. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: 5
(Difficult) (grade 5).
Conductor Score. 44
pages. Published by
Alfred Publishing.
Organ SKU: ST.H464 Composed by Various. Arranged by Norris. Organ music. ...(+)
Organ
SKU: ST.H464
Composed by Various.
Arranged by Norris. Organ
music. Fifteen pieces for
use at Funerals and
Memorial Services.
Arranged by John Norris..
Score. Stainer & Bell
Ltd. #H464. Published by
Stainer & Bell Ltd.
(ST.H464).
ISBN
9790220222139.
Well
-chosen music is an
essential adjunct to the
dignity and reverence of
funerals and acts of
remembrance, comforting
those who mourn, and
shining light upon the
personality of the
departed person.
Among these fifteen new
arrangements, organists
will find a wealth of
material from which to
select the right piece
appropriate to the
occasion. There are
classics such as
Mendelssohn's O rest
in the Lord and
Handel's Dead
March from Saul,
romantic masterpieces
like Elgar's
Nimrod and
Mahler's
Adagietto, as
well as a contemporary
favourite, Candle in
the Wind, which
featured so memorably at
the funeral of Diana,
Princess of Wales.
A leading arranger
and teacher for the
organ, John Norris has
also included his own
Improvisation on
Brother James' Air,
an arrangement of
Sibelius's
Finlandia ('Be
still, my soul'), and a
novelty item The
Broken Melody by
Auguste van Biene. The
collection concludes,
appropriately, with
Stanford's uplifting
Nunc Dimittis
from the Evening Service
in C.
(for Soprano, Clarinet, Cello and Piano). By Morten Lauridsen (1943-). Score and...(+)
(for Soprano, Clarinet,
Cello and Piano). By
Morten Lauridsen (1943-).
Score and Parts.
Peermusic Classical. 30
pages. Peermusic
#61648-224. Published by
Peermusic
Female voices with/without accomp. SKU: BR.CHB-5335-02 Hymn on a Theme...(+)
Female voices
with/without accomp.
SKU:
BR.CHB-5335-02
Hymn on a Theme from
Finlandia op. 26.
Composed by Jean
Sibelius. Arranged by
Alan (Klav-Begleit)
Boustead. Choir; stapled.
Chor-Bibliothek (Choral
Library). Symphonic poem;
Early modern;
Late-romantic. Choral
score. 8 pages. Duration
9'. Breitkopf and Haertel
#ChB 5335-02. Published
by Breitkopf and Haertel
(BR.CHB-5335-02).
Male voices with/without accomp. SKU: BR.CHB-5182-02 Hymn on a Theme f...(+)
Male voices with/without
accomp.
SKU:
BR.CHB-5182-02
Hymn on a Theme from
Finlandia op. 26.
Composed by Jean
Sibelius. Arranged by
Alan (Klav-Begleit)
Boustead. Choir; stapled.
Chor-Bibliothek (Choral
Library). Symphonic poem;
Early modern;
Late-romantic. Choral
score. 4 pages. Duration
9'. Breitkopf and Haertel
#ChB 5182-02. Published
by Breitkopf and Haertel
(BR.CHB-5182-02).
Be Still, My Soul Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Concert band - Grade 3 SKU: CL.012-4495-01 A Chorale Prelude. Conc...(+)
Concert band - Grade 3
SKU:
CL.012-4495-01
A
Chorale Prelude.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR389). Extra full
score. Composed 2016.
Duration 4 minutes, 5
seconds. Opus III Wind
Orchestra Publications
#012-4495-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4495-01).
This prolific
composer has penned many
beautiful, dramatic, and
emotional works. On this
occasion, he has created
a hymn setting that is
highly reflective and
musically very powerful.
While the band parts
certainly stand on their
own, optional use of
antiphonal trumpets,
organ, and choir are
included should you
desire to provide your
audience with a
spectacular performance
that won’t soon be
forgotten. This is truly
a very inspirational
work. Very
Impressive!
Be Still, My Soul Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4495-75 A Chorale Prelude. Conc...(+)
Concert band - Grade 3
SKU:
CL.012-4495-75
A
Chorale Prelude.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR389). Oversized,
spiral-bound score.
Composed 2016. Duration 4
minutes, 5 seconds. Opus
III Wind Orchestra
Publications
#012-4495-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4495-75).
This prolific
composer has penned many
beautiful, dramatic, and
emotional works. On this
occasion, he has created
a hymn setting that is
highly reflective and
musically very powerful.
While the band parts
certainly stand on their
own, optional use of
antiphonal trumpets,
organ, and choir are
included should you
desire to provide your
audience with a
spectacular performance
that won't soon be
forgotten. This is truly
a very inspirational
work. Very
Impressive!
Voice & Piano SKU: SU.80400390 For Voice & Piano. Composed by Step...(+)
Voice & Piano
SKU:
SU.80400390
For
Voice & Piano.
Composed by Stephen
Paulus. Vocal/Choral,
Secular Choral.
Accompanied by piano.
Score. Subito Music
Corporation #80400390.
Published by Subito Music
Corporation
(SU.80400390).
Voice &
PianoDuration: 3:50
Dedication: For David
Clark PaulusCopyright
2003Text author: Psalm
46:10, I Thessalonians
4:17 Published by: Paulus
Publications (SP450).
Arranged by R.W. Smith. Concert band. Young Band. Sound Foundations Series. Audi...(+)
Arranged by R.W. Smith.
Concert band. Young Band.
Sound Foundations Series.
Audio recording available
separately (item
CL.WFR370). Grade 0.5.
Extra full score.
Composed 2010. Duration 2
minutes, 36 seconds.
Published by C.L.
Barnhouse
Piano Accompaniment; Voice (Listening CD) SKU: HL.35032561 Composed by He...(+)
Piano Accompaniment;
Voice (Listening CD)
SKU: HL.35032561
Composed by Heather
Sorenson. Shawnee Press.
Christian, General
Worship. CD. Published by
Shawnee Press
(HL.35032561).
ISBN
9781540041586. UPC:
888680900540.
5.0x5.0x0.122
inches.
Midnight
Faith is an eclectic
collection of both
original vocal and
instrumental music, all
threaded together by the
common (and sometimes
subtle) theme of
nighttime. In this
project, not only does
Heather Sorenson
incorporate her signature
singer-songwriter style
of writing, she also
explores different genres
including folk, jazz,
original classical and
modern Christian music.
This music book is the
companion product to the
newly released album, and
it includes a fully
realized piano
accompaniment and vocal
score. From upbeat to
reflective, Midnight
Faith contains selections
suitable for recitals,
concerts and church
services. Songs include:
Travel Light; Let Me Walk
You Home; Now I Lay Me
Down to Sleep;
Nightlights; Midnight
Faith; Things We
Remember; Raise Your
Hands; I Have Loved the
Stars Too Fondly; Be
Still My Soul; Day Is
Dying in the West.
Composed by Mary McDonald. For orchestra. Choral. Sacred Anthem. Score and CD wi...(+)
Composed by Mary
McDonald. For orchestra.
Choral. Sacred Anthem.
Score and CD with
Printable Parts. Crystal
Sea Music Publishing
#765762221505. Published
by Crystal Sea Music
Publishing
Chamber Music Organ, Trumpet SKU: PR.114419810 Composed by Stacy Garrop. ...(+)
Chamber Music Organ,
Trumpet
SKU:
PR.114419810
Composed
by Stacy Garrop. Set of
Score and Parts. 33+12
pages. Duration 21
minutes. Theodore Presser
Company #114-41981.
Published by Theodore
Presser Company
(PR.114419810).
ISBN
9781491136638. UPC:
680160681921.
Stacy
Garrop’s ROAD
WARRIOR is music of
real-life tragedy,
expressed through the
power of a trumpet/organ
duo. Drawing inspiration
from Neil Peart’s
autobiographical book,
“Ghost Rider:
Travels on the Healing
Road,â€
Garrop’s work
grieves the loss of a
friend’s young son
and the journey to
healing. ROAD
WARRIOR’s
evocative movement titles
are drawn from passages
in Peart’s book:1.
I Am the Ghost Rider2. My
Little Baby Soul3. Are
You With Me
Here?. When Clarion
members Keith Benjamin
(trumpet), Melody Steed
(organ), and I initially
discussed possible topics
for a new piece, Keith
brought up his son
Cameron, who had passed
away at the age of seven
from leukemia. While
Cameron’s life
ended too soon, he left
an indelible and lasting
mark on his those
surrounding him. Keith
asked if I could
commemorate Cameron
musically.In talking over
possible ways to do this,
Keith mentioned the book
Ghost Rider: Travels on
the Healing Road. The
book was written by Neil
Peart, who is well-known
as the longtime drummer
and lyricist of the band
Rush. Peart suffered the
heartbreaking loss of his
daughter in 1997,
followed by his wife 10
months later. In an
effort to work through
the grieving process,
Peart did what his wife
suggested before she
passed: he got onto his
motorcycle and hit the
open road. Ghost Rider
chronicles a year of
Peart’s life in
which he drove for 55,000
miles, zigzagging his way
across Canada, the
western portion of the
United States, Mexico,
and Belize.
Peart’s powerful
story illustrates how he
coped with immense loss
and eventually emerged on
the other side to once
again embrace life. Keith
had found Peart’s
book helpful in dealing
with Cameron’s
death; moreover, Mr.
Peart sent Cameron a
signed cymbal while he
was in the hospital
undergoing treatment.
This unexpected gesture
of compassion and
generosity meant the
world to both Cameron and
Keith.I chose three
phrases from
Peart’s book to
serve as the inspiration
for the movements in Road
Warrior. In the first
movement, I am the ghost
rider, I imagined the
performers to be howling
phantoms that are
haunting drivers on a
nearly deserted highway.
Peart often mentioned
that he felt haunted by
ghosts from the past
while on his journey, and
sometimes felt like a
ghost himself, moving
through an immaterial
world as he rode from
town to town. The second
movement, My little baby
soul, references
Peart’s wording to
define his own inner
essence that he was
trying to protect and
nurture while on his
journey. In this gentle
movement, I capture the
innocence and simplicity
of a newborn soul. The
piece concludes with Are
you with me here? In this
movement, I depict the
performers as they search
to find connections to
those they have lost, and
to those still
living.Over the course of
his travels, Peart kept
up a steady letter
correspondence with his
close friend Brutus. In
one of his first letters,
he repeatedly asks Brutus
if he is with him in
spirit. I found it to be
very poignant that while
in his self-imposed
exile, Peart discovered
that he still needed
connections to humanity.I
wish to thank Mr. Peart
for granting me
permission to use his
phrases as the movement
titles, and for serving
as the inspiration for
Road Warrior. Rarely do
any of us make it through
our lives without being
touched by the loss of
someone dear to us. I
found Peart’s
insights into his
grieving and recovery
process to be insightful,
eloquent, and
surprisingly comforting.
His journey is a touching
reminder that with enough
fortitude and time, we
can work through what
fate deals us and
continue down our own
road of life.
SKU: CA.2090100 Composed by Heinrich Schutz. Edited by Siegfried Schmalzr...(+)
SKU: CA.2090100
Composed by Heinrich
Schutz. Edited by
Siegfried Schmalzriedt.
This edition: urtext.
Cycles: Schutz:
Italienische Madrigale
SWV 1-19. Complete
editions / Selected
works: Heinrich Schutz
Complete Edition. German
title: Italienische
Madrigale. Madrigals,
Secular choral music.
Full score (complete
edition / selected
edition). Composed 1623.
152 pages. Carus Verlag
#CV 20.901/00. Published
by Carus Verlag
(CA.2090100).
ISBN
9790007037284.
Than
ks to a stipend from his
patron, the Landgrave
Moritz von Hessen-Kassel,
Schutz was able to pursue
a three-year period of
study under Giovanni
Gabrieli in Venice from
1609 to 1612, which he
concluded with the
publication in 1611 of
the madrigal collection
Il Primo Libro de
Madrigali. Already in
this, his Opus primus,
Schutz emerged as an
outstanding composer: In
their musical quality,
the 18 five-part
madrigals exceed much
that was still being
composed in the
traditional madrigal
style at the beginnning
of the 17th century.
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-158-010 Composed by William B...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-158-010
Composed by William Byrd.
Arranged by Philip
Sparke. Anglo Music
Midway Series.
Transcription. Set (Score
& Parts). Composed 2006.
Anglo Music Press #AMP
158-010. Published by
Anglo Music Press
(BT.AMP-158-010).
9x12
inches.
English-German-French-Dut
ch.
The Battell was
written during the late
14th Century when England
was in a mood of national
celebration after victory
over the Spanish and
French Armadas.The
movement which Byrd
called Marche Before The
Battell became known as
The Earl of Oxford?s
Marchand it appears with
that title in an early
manuscript copy of the
Fitzwilliam Virginal
Book.Written while Byrd
was at the height of his
powers, it still stirs
the soul to this day. A
perfect opener for your
concert
performances.
M
y Lady Nevells Book
uit 1591 bevat een aantal
werken van William Byrd
die waarschijnlijk waren
gecomponeerd in de 25
jaren daarvoor, inclusief
de verhalende suite
The Battell. De
programmatische muziek
van The Battellis
zeldzaam in Byrds oeuvre,
dat vooral bestaat uit
vaste muzikale vormen,
zoals gaillardes en
pavanes. Het werk is
vermoedelijk geschreven
na 1588, toen Engeland in
een overwinningsroes
verkeerde na de zege op
de Spaanseen Franse
Armada’s. Het deel
dat Byrd Marche Before
The Battell noemde,
werd bekend als The
Earl of Oxford’s
March, hoewel het
niet geheel duidelijk is
waarom. Deze muziek, die
Byrd schreef in zijn
hoogtijdagen, isnog
altijd
treffend.
Der
Notendruck kam spät
nach England. Viele
Spieler kopierten die
Musik von Hand,
wohlhabende Familien
ließen sie sich von
einem Schreiber kopieren.
Solch eine frühe
Ausgabe war My Lady
Nevells Book, das
u.a. die deskriptive
Suite The Battell
enthält. Der Satz, den
Byrd mit Marche Before
the Battel
überschrieb wurde als
The Earl of
Oxford’s March
bekannt. Das Stück,
das zur Blütezeit von
Byrds Schaffenskraft
entstand, bewegt noch
heute die Gemüter.
Eine perfekte
Eröffnung für Ihr
Konzert.
Questo
brano di musica a
programma è unico
nella produzione di
William Byrd che
comprende soprattutto
grounds, gagliarde e
pavane. The Battell - dal
quale è tratto The
Earl of Oxford’s
March (o Marche Before
the Battle), fu
composto probabilmente
dopo il 1588, ai tempi in
cui l’Inghilterra
era particolarmente
incline ai festeggiamenti
nazionali dopo la
vittoria sulle flotte
spagnole e francesi.
Questo brano, scritto
quando William Bryd era
all’apice della
gloria, continua a
commuovere.
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-158-140 Composed by William B...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-158-140
Composed by William Byrd.
Arranged by Philip
Sparke. Anglo Music
Midway Series.
Transcription. Score
Only. Composed 2006. 32
pages. Anglo Music Press
#AMP 158-140. Published
by Anglo Music Press
(BT.AMP-158-140).
9x12
inches.
English-German-French-Dut
ch.
The Battell was
written during the late
14th Century when England
was in a mood of national
celebration after victory
over the Spanish and
French Armadas.The
movement which Byrd
called Marche Before The
Battell became known as
The Earl of Oxford?s
Marchand it appears with
that title in an early
manuscript copy of the
Fitzwilliam Virginal
Book.Written while Byrd
was at the height of his
powers, it still stirs
the soul to this day. A
perfect opener for your
concert
performances.
M
y Lady Nevells Book
uit 1591 bevat een aantal
werken van William Byrd
die waarschijnlijk waren
gecomponeerd in de 25
jaren daarvoor, inclusief
de verhalende suite
The Battell. De
programmatische muziek
van The Battellis
zeldzaam in Byrds oeuvre,
dat vooral bestaat uit
vaste muzikale vormen,
zoals gaillardes en
pavanes. Het werk is
vermoedelijk geschreven
na 1588, toen Engeland in
een overwinningsroes
verkeerde na de zege op
de Spaanseen Franse
Armada’s. Het deel
dat Byrd Marche Before
The Battell noemde,
werd bekend als The
Earl of Oxford’s
March, hoewel het
niet geheel duidelijk is
waarom. Deze muziek, die
Byrd schreef in zijn
hoogtijdagen, isnog
altijd
treffend.
Der
Notendruck kam spät
nach England. Viele
Spieler kopierten die
Musik von Hand,
wohlhabende Familien
ließen sie sich von
einem Schreiber kopieren.
Solch eine frühe
Ausgabe war My Lady
Nevells Book, das
u.a. die deskriptive
Suite The Battell
enthält. Der Satz, den
Byrd mit Marche Before
the Battel
überschrieb wurde als
The Earl of
Oxford’s March
bekannt. Das Stück,
das zur Blütezeit von
Byrds Schaffenskraft
entstand, bewegt noch
heute die Gemüter.
Eine perfekte
Eröffnung für Ihr
Konzert.
Questo
brano di musica a
programma è unico
nella produzione di
William Byrd che
comprende soprattutto
grounds, gagliarde e
pavane. The Battell - dal
quale è tratto The
Earl of Oxford’s
March (o Marche Before
the Battle), fu
composto probabilmente
dopo il 1588, ai tempi in
cui l’Inghilterra
era particolarmente
incline ai festeggiamenti
nazionali dopo la
vittoria sulle flotte
spagnole e francesi.
Questo brano, scritto
quando William Bryd era
all’apice della
gloria, continua a
commuovere.
Edited by Keri Dexter; Geoffrey Webber. For SATB choir (with divisions) accompan...(+)
Edited by Keri Dexter;
Geoffrey Webber. For SATB
choir (with divisions)
accompanied. Mixed
Voices. Church Music
Society publications.
Sacred, Choral
Collection. Level B-C
(easy - moderately
difficult). Vocal score.
87 pages. Published by
Oxford University Press