SKU: GI.G-007401 Composed by John Angotti. Sacred. GIA Publications #0074...(+)
SKU: GI.G-007401
Composed by John Angotti.
Sacred. GIA Publications
#007401. Published by GIA
Publications
(GI.G-007401).
Here we present
Thanks and Praise.
Included on this album:
By Name I Have Called You
(Common Ground, Angotti
Live), Feed My Lambs
(Joy Beyond Our Dreams),
Stand in the Light (Stand
in the Light), Thanks
and Praise
(Testify), I Send You
Out (Angotti
Live), It's Time to
Get Up (It's Time to Get
Up), There's a Presence
(I Believe), All Who
Enter Here (Today!), We
Gather in Love (We Gather
in Love).
Piano SKU: HL.14007553 For Piano. Composed by Justin Connolly. Mus...(+)
Piano
SKU:
HL.14007553
For
Piano. Composed by
Justin Connolly. Music
Sales America. Classical.
Softcover. 26 pages.
Novello & Co Ltd.
#NOV360129. Published by
Novello & Co Ltd.
(HL.14007553).
12.0x16.5
inches.
An ennead
is a large composition in
nine sections. Historical
examples include an
important early Latin
epic, the discourses of
the neoplatonic
philosopher Plotinus, and
the once popular poem by
Edward Young, first
published in 1745. This
last was re-issued in
1802, in a sumptuous
edition illustrated with
more than five hundred
engravings by William
Blake, whose own Vala is
also an ennead. Young's
poem was called Night
Thoughts, and I had
originally intended to
use the same title for my
own set of quite
independent nocturne-like
pieces. Finally, I
decided on the name
Sonatina, as being a more
accurate description of a
work in which the
interrelatedness of the
sections placed it
somewhere between the
character of a suite and
that of a set of
variations, as well as
emphasizing its artistic
descent from the type of
irregular sonata
pioneered by such
composers as Alkan and
Busoni. -Justin
Connolly.
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.
Published by Oxford
University Press
Silver Poetry Quatuor à cordes: 2 violons, alto, violoncelle Boosey and Hawkes
For String Quartet. Composed by Elena Kats-Chernin (1957-). Boosey and Hawkes ...(+)
For String Quartet.
Composed
by Elena Kats-Chernin
(1957-). Boosey and
Hawkes
Chamber Music. Softcover.
24
pages. Boosey and Hawkes
#M202533413. Published by
Boosey and Hawkes
SKU: WD.080689542176 Composed by Tony Wood. Choral, cantatas. Patriotic. ...(+)
SKU:
WD.080689542176
Composed by Tony Wood.
Choral, cantatas.
Patriotic. Book. Word
Music #080689542176.
Published by Word Music
(WD.080689542176).
UPC:
080689542176.
Ameri
ca! The sound of that
name inspires and
emboldens us; it
emboldens us as we follow
in the footsteps of those
who’ve gone
before, and inspires us
to do even greater things
still…to build
better, be stronger,
reach farther, dream
bigger, and trust God to
lead us to new frontiers
and scale new heights. We
are a country both built
and sustained by
dreamers. Dreamers who
became doers. Dreamers
who didn’t listen
when others said
“impossible.â€
Dreamers who dared to
make dreams come
true…American
Dreamers!
The
creative team of Tony
Wood and Cliff Duren have
joined forces with Word
Music to bring you this
new, inspirational
patriotic musical called
American
Dreamers. This
inaugural release in
Word’s God &
Country Series fuses
iconic patriotic songs
such as “America,
the Beautiful†and
“My Country,
‘Tis of
Theeâ€; new
patriotic songs by Tony
Wood; hymn favorites such
as “Great Is Thy
Faithfulness†and
“O God, Our Help in
Ages Pastâ€; songs
of Praise and Worship,
along with two well-known
country music hits,
“Arlingtonâ€
(made popular by Trace
Adkins) and
“American Flag on
the Moonâ€
(popularized by Brad
Paisley) — songs
about freedom, liberty,
Biblical foundations,
faith, American
life…God &
Country!
Written
for Choir, Rhythm
Section, Orchestra,
Soloists, and Narrator,
American
Dreamers sets a
new standard for
patriotic,
God-and-Country musical
experiences. Employ the
use of the
visually-compelling DVD
Accompaniment Track for a
memory-making patriotic
service!
SKU: GI.G-8462 Composed by James Abbington. Edited by James Abbington. Af...(+)
SKU: GI.G-8462
Composed by James
Abbington. Edited by
James Abbington. African
American Church Music
Series. Sacred. Book. 824
pages. GIA Publications
#8462. Published by GIA
Publications (GI.G-8462).
ISBN 9781622771004.
English.
The volume
you are holding is a
vivid testimony …to
the value of examining
this variety and dynamism
from multiple,
overlapping points of
view …to the value
of both realist and
idealist voices …to
the value of articulating
wisdom. From the foreword
by John D. Witvliet,
Calvin Institute of
Christian Worship Since
the publication of the
first volume of Readings
in African American
Church Music and Worship,
public and academic
interest in the music and
worship in black churches
has significantly
increased. This second
volume makes available
the most recent
scholarship on
twenty-first-century
developments and trends,
through a representative
number of articles,
essays, and chapters
written by brilliant
musicians, authors, and
theologians of our time.
The list of contributors
includes some of the
finest emerging scholars,
whose voices we will be
hearing for years to
come, as well as
offerings from seasoned
authors, whose research
and writings are well
regarded by peers and the
worshiping community at
large. The significant
contributions—from
names new and
familiar—greatly
broaden the field of
study. The 43 chapters of
this volume are divided
into 7 categories:
Worship and Liturgical
Practices Perspectives on
Praise and Worship
Liturgical Theologies Hip
Hop and/in the Church
Proclamation of the Word
Perspectives on Women and
Gender Hymnody: Sound and
Sense Insightful,
thought-provoking,
challenging,
hopeful—this
volume will be a source
of knowledge, a stimulus
for discussion, and a
call to (re)consider the
many and varied
viewpoints of the African
American church.
Featuring the writings
of: James Abbington,
LaTrese Adkins, Sandra L.
Barnes, Tuere A. Bowles,
Ruthlyn Bradshaw, Michael
Joseph Brown, Melvin L.
Butler, James H. Cone,
David Douglas Daniels
III, Robert Darden, Leo
H. Davis Jr., Valerie
Bridgeman Davis, Michael
Fox, Kenyatta R. Gilbert,
Daniel White Hodge,
Birgitta J. Johnson,
Alisha Jones, Tammy L.
Kernodle, S T Kimbrough,
Jr., Cheryl A.
Kirk-Duggan, Cleophus J.
LaRue, Monica T. Leach,
Tamura Lomax, Pamela P.
Martin, Marvin A.
McMickle, Monica R.
Miller, Stephanie Y.
Mitchem, Thomasina
Neely-Chandler, Deborah
S. Pollard, Luke A.
Powery, Samuel D.
Proctor, Teresa L. Reed,
Braxton D. Shelley,
Martha Simmons, Josef
Sorett, Rodney A. Teal,
Frank Thomas, Kathleen S.
Turner, Kenneth C. Ulmer,
Gayle Wald, James Melvin
Washington, Ralph C.
Watkins, Lisa M. Weaver,
Melinda E. Weekes,
Christina Zanfagna James
Abbington is Associate
Professor of Church Music
and Worship, Candler
School of Theology, Emory
University, Atlanta,
Georgia. He also serves
as Executive Editor of
the African American
Church Music Series,
published by GIA
Publications, Inc.
Orchestra Orchestra SKU: PR.11641145L Composed by Lowell Liebermann. Larg...(+)
Orchestra Orchestra
SKU: PR.11641145L
Composed by Lowell
Liebermann. Large Score.
80 pages. Duration 20
minutes. Theodore Presser
Company #116-41145L.
Published by Theodore
Presser Company
(PR.11641145L).
The Concerto
for Piccolo and Orchestra
Op.50 was commissioned by
Jan Gippo, principal
Piccolo of the St. Louis
Symphony, who gave the
premiere of the work on
August 18th, 1996, in New
York City with the New
Jersey Symphony Orchestra
conducted by Glenn
Cortese. The occasion was
the annual convention of
the National Flute
Association, who
sponsored the
commission.Jan Gippo had
enthusiastically pursued
the idea of commissioning
a Piccolo concerto from
me ever since he played
orchestral Piccolo in the
premiere of my Concerto
for Flute with James
Galway and the St. Louis
Symphony. Won over by his
enthusiasm, I agreed to
write this work for an
instrument which has had
virtually no concerto
repertoire since the
baroque era. In doing so
I was eager to stress the
lyrical and expressive
qualities of an
instrument which is too
often stereotyped as
being useful for only
brilliant and ornamental
flourishes.The work falls
into three movements
which are united by
thematic and motivic
materials, significant
among which is a twelve
note row which forms the
basis of the second
movement’s
variations. The final
movement, which puts the
seriousness of the first
tow movements aside for
an unbridled romp, makes
use of three explicit
musical quotations at
strategic structural
moments, one of which is
an implicit homage to
Shostakovich, who quoted
from the same work in his
own second Violin
Concerto.Orchestration of
the Concerto was
completed at the
Loew’s Hotel in
Monte Carlo, where I was
situated for the
rehearsal period of my
opera The Picture of
Dorian Gray.The Concerto
for Piccolo and Orchestra
has been recorded for
release on the BMG label
by James Galway with the
London Mozart Players
conducted by the
composer.
Orchestra Orchestra SKU: PR.11641145S Composed by Lowell Liebermann. Stud...(+)
Orchestra Orchestra
SKU: PR.11641145S
Composed by Lowell
Liebermann. Study Score.
80 pages. Duration 20
minutes. Theodore Presser
Company #116-41145S.
Published by Theodore
Presser Company
(PR.11641145S).
ISBN
9781491136553. UPC:
680160689408.
The
Concerto for Piccolo and
Orchestra Op.50 was
commissioned by Jan
Gippo, principal Piccolo
of the St. Louis
Symphony, who gave the
premiere of the work on
August 18th, 1996, in New
York City with the New
Jersey Symphony Orchestra
conducted by Glenn
Cortese. The occasion was
the annual convention of
the National Flute
Association, who
sponsored the
commission.Jan Gippo had
enthusiastically pursued
the idea of commissioning
a Piccolo concerto from
me ever since he played
orchestral Piccolo in the
premiere of my Concerto
for Flute with James
Galway and the St. Louis
Symphony. Won over by his
enthusiasm, I agreed to
write this work for an
instrument which has had
virtually no concerto
repertoire since the
baroque era. In doing so
I was eager to stress the
lyrical and expressive
qualities of an
instrument which is too
often stereotyped as
being useful for only
brilliant and ornamental
flourishes.The work falls
into three movements
which are united by
thematic and motivic
materials, significant
among which is a twelve
note row which forms the
basis of the second
movement’s
variations. The final
movement, which puts the
seriousness of the first
tow movements aside for
an unbridled romp, makes
use of three explicit
musical quotations at
strategic structural
moments, one of which is
an implicit homage to
Shostakovich, who quoted
from the same work in his
own second Violin
Concerto.Orchestration of
the Concerto was
completed at the
Loew’s Hotel in
Monte Carlo, where I was
situated for the
rehearsal period of my
opera The Picture of
Dorian Gray.The Concerto
for Piccolo and Orchestra
has been recorded for
release on the BMG label
by James Galway with the
London Mozart Players
conducted by the
composer.
Woodwinds SKU: BR.OB-5560-30 Urtext. Composed by George Frideric H...(+)
Woodwinds
SKU:
BR.OB-5560-30
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
Folder.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Set of parts.
134 pages. Duration 120'.
Breitkopf and Haertel #OB
5560-30. Published by
Breitkopf and Haertel
(BR.OB-5560-30).
ISBN
9790004344163. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Basso (cello/double bass) SKU: BR.OB-5560-26 Urtext. Composed by G...(+)
Basso (cello/double bass)
SKU: BR.OB-5560-26
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 60 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-26.
Published by Breitkopf
and Haertel
(BR.OB-5560-26).
ISBN
9790004344156. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Chorus (with soloists) and orchestra SKU: BR.PB-5560 Urtext. Compo...(+)
Chorus (with soloists)
and orchestra
SKU:
BR.PB-5560
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Full score. 292
pages. Duration 120'.
Breitkopf and Haertel #PB
5560. Published by
Breitkopf and Haertel
(BR.PB-5560).
ISBN
9790004213704. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ).
Violin 2 SKU: BR.OB-5560-16 Urtext. Composed by George Frideric Ha...(+)
Violin 2
SKU:
BR.OB-5560-16
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 64 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-16.
Published by Breitkopf
and Haertel
(BR.OB-5560-16).
ISBN
9790004344132. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Basso continuo SKU: BR.OB-5560-11 Urtext. Composed by George Fride...(+)
Basso continuo
SKU:
BR.OB-5560-11
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 96 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-11.
Published by Breitkopf
and Haertel
(BR.OB-5560-11).
ISBN
9790004344118. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Viola SKU: BR.OB-5560-19 Urtext. Composed by George Frideric Hande...(+)
Viola
SKU:
BR.OB-5560-19
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 60 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-19.
Published by Breitkopf
and Haertel
(BR.OB-5560-19).
ISBN
9790004344149. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Violin 1 SKU: BR.OB-5560-15 Urtext. Composed by George Frideric Ha...(+)
Violin 1
SKU:
BR.OB-5560-15
Urtext. Composed
by George Frideric
Handel. Edited by
Caroline Ritchie and
Malcolm Bruno. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Critical Edition with
the original English text
by Charles Jennens as
well as the German
translation by Johann
Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
Have a
look int.
Oratorio/passion;
Baroque. Part. 64 pages.
Duration 120'. Breitkopf
and Haertel #OB 5560-15.
Published by Breitkopf
and Haertel
(BR.OB-5560-15).
ISBN
9790004344125. 10 x 12.5
inches.
Messiah
1741 - new light on
Handel's masterpieceThe
focus of this new edition
is the Messiah as first
conceived by the composer
in 1741: before its first
performance in Dublin in
1742, before the first
London performances of
the mid 1740s, before the
final Foundling Hospital
performances in the late
1750s. The editor
succeeds in creating a
21st-century edition from
the perspective of 1741,
making clear that Messiah
was a genius hit from the
start.Messiah 1741 - the
first and only complete
edition of Handel's
autograph scoreThorough
information on Handel's
performance practice in
1741 (including topics
such as orchestration,
continuo, text underlay
and specific questions on
interpretation)It offers
a reconstruction of the
wind parts according to
contemporary sourcesPiano
vocal score with
contemporary vocal
ornamentationFirst
edition including the
German text by Herder - a
monument of the German
enlightenment - which is
contentwise and
phonetically closer to
Jennens' text than any
other translation,
therefore being a perfect
singable alternativeThe
appendix contains
additionally the most
popular and important
aria versions composed
after 1741 for practical
reasons.Throughout this
new edition, creative yet
pragmatic scholarship
shines through, and the
Preface and Critical
Report are thorough and
unusually fascinating.
... I'm very happy to own
the full score, and if I
were starting out now,
I'd invest in the whole
kit and caboodle.(Jeremy
Summerly, Choir &
Organ)
Critical
Edition with the original
English text by Charles
Jennens as well as the
German translation by
Johann Gottfried Herder,
including a comprehensive
historical and
musicological preface and
detailed critical
commentary.
A Shaker Gift Song Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Grade 2. Conductor
score and set of parts.
Duration 2:15. Published
by Manhattan Beach Music
Score
and Parts. Composed
by Niels Marthinsen.
Music Sales America.
Classical, Contemporary.
Softcover. Composed 2012.
Edition Wilhelm Hansen
#WH31620. Published by
Edition Wilhelm Hansen
(HL.14042113).
ISBN
9788759826058.
International (more than
one language).
THE
DREAMERS for horn, violin
and piano is the sixth of
a series of seven
compositions named after
Karen Blixen's collection
of short stories Seven
Gothic Tales. My musical
gothic tales are written
for very different
ensembles - THE SUPPER AT
ELSINORE is a saxophone
quartet, THE OLD
CHEVALIER is for bass
trombone and piano, THE
MONKEY is a chamber
orchestra work - but they
all share musical
material in a criss-cross
of contextual references
reminiscent of Blixen's
narrative complexity:
Themes and motivs from
one piece appear in
others in new and
surprising shapes and
combinations. Karen
Blixen's THE DREAMERS has
the most complex
narrative structure of
all her seven gothic
tales.The story is made
up of three tales with
different narrators, but
with the same principal
caracter in various
disguises, all three
imbedded within a fourth
tale that serves as a
framework for the entire
short story. The main
story line unravels the
life of a famous opera
diva who looses her voice
during a terrible fire.
Before this her life was
perpetual bliss, and the
tragedy drives her into
assuming different
personality guises in
order to escape reality.
Toward the end she is
confronted with her true
identity, and dies. THE
DREAMERS isn't 'about'
anything. The music is
inspired by the artistic
content of Blixen's short
story - it's
emotionalism, dramatic
construction, atmosphere,
period and settings - but
unfolds in time and
musical space in ways
that are completely
independent of the
story's narrative
progression... except one
might say that the three
players try their best to
either catch or escape
each other, and that when
they finally meet, it
happens abruptly, even
tragically - and only
barely provides a little
consolation. Duration:
approximately 15
minutes.
SAB choir, keyboard accompaniment, guitar - Early intermediate SKU: GI.G-7020...(+)
SAB choir, keyboard
accompaniment, guitar -
Early intermediate
SKU: GI.G-7020
Composed by Pablo Sosa.
Arranged by Homero R.
Perera. Oramos cantando
series. Sacred. Octavo.
With guitar chord names.
12 pages. GIA
Publications #7020.
Published by GIA
Publications (GI.G-7020).
UPC: 785147702009.
English, Spanish.
Translation: Mary Louise
Bringle. Text by Juan
Damián.
The
milonga is a song-dance
developed around 1870 by
the cultures co-existing
in Buenos Aires at the
time. This piece, with a
Mary Louise Bringle
translation, explores the
mystery of God: “I
think I know, but barely
grasp it . . .†and
calls for greater faith.
The music is slow,
rhythmic, richly
harmonic, and
mesmerizing.