Composed by Various. Arranged by Darren W. Jenkins. Concert Band. Concert Band Series. Grade 3. Full set. Published by Wingert-Jones Publications

SKU: GI.G-017190

Composed by Jerry Galipeau. Sacred. GIA Publications #017190. Published by GIA Publications (GI.G-017190).

UPC: 641151171906. English.

This helpful book for Year A provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year B and Year C. (Download edition does NOT include a CD).

SKU: GI.G-017191

Composed by Jerry Galipeau. Sacred. GIA Publications #017191. Published by GIA Publications (GI.G-017191).

English.

This helpful book for Year B provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year A and Year C. (Download edition does NOT include a CD).

SKU: GI.G-017192

Composed by Jerry Galipeau. Sacred. GIA Publications #017192. Published by GIA Publications (GI.G-017192).

English.

This helpful book for Year C provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year A and Year B. (Download edition does NOT include a CD).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Horn 3, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Trombone 1 and more. - Grade 3

SKU: CF.CPS275

Concert March. Composed by Joseph Benjamin Earp. Arranged by Joseph Benjamin Earp. Set of Score and Parts. Carl Fischer Music #CPS275. Published by Carl Fischer Music (CF.CPS275).

ISBN 9781491163740. UPC: 680160922536.

Origi nally published by Carl Fischer in 1932, The Fencing Master by Captain James C. Harper, former director of the famed Lenoir High School Band (Lenoir, North Carolina), is a rediscovered treasure in the concert march world. A fencing master is defined as an expert in, and teacher of, the art and sport of fencing. This sport uses a sword both in an offensive and defensive stance. This march embodies the idea of fencing and the fencing master.Captain Harper used this march as part of his application to the American Bandmasters Association where he later served as president of this organization in 1955 and was also a lifetime honorary president. Captain Harper was also a strong driving force in the creation of the North Carolina Chapter of the American School Band Directors Association. This chapter of the ASBDA is one of the oldest and largest in the country.The famed Lenoir High School Band was the center of Captain Harper’s dedication for quality music education. The Lenoir High School Band continues to be internationally known for a staggering forty-two-year consecutive streak of Superior Ratings in Grade VI state Concert Band Contests. This streak was from 1935 until the school’s closing in 1977 as part of a school merger in Caldwell County.As a fellow native of Lenoir, North Carolina, the revitalization of this concert march has been a special project for me. May this revived gem serve as a tribute to the legacy of Captain Harper and his famed Lenoir High School Band.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Horn 3, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Trombone 1 and more.

SKU: CF.CPS275F

Concert March. Composed by Joseph Benjamin Earp. Arranged by Joseph Benjamin Earp. Full score. 20 pages. Carl Fischer Music #CPS275F. Published by Carl Fischer Music (CF.CPS275F).

ISBN 9781491164143. UPC: 680160922932.

Origi nally published by Carl Fischer in 1932, The Fencing Master by Captain James C. Harper, former director of the famed Lenoir High School Band (Lenoir, North Carolina), is a rediscovered treasure in the concert march world. A fencing master is defined as an expert in, and teacher of, the art and sport of fencing. This sport uses a sword both in an offensive and defensive stance. This march embodies the idea of fencing and the fencing master.Captain Harper used this march as part of his application to the American Bandmasters Association where he later served as president of this organization in 1955 and was also a lifetime honorary president. Captain Harper was also a strong driving force in the creation of the North Carolina Chapter of the American School Band Directors Association. This chapter of the ASBDA is one of the oldest and largest in the country.The famed Lenoir High School Band was the center of Captain Harper’s dedication for quality music education. The Lenoir High School Band continues to be internationally known for a staggering forty-two-year consecutive streak of Superior Ratings in Grade VI state Concert Band Contests. This streak was from 1935 until the school’s closing in 1977 as part of a school merger in Caldwell County.As a fellow native of Lenoir, North Carolina, the revitalization of this concert march has been a special project for me. May this revived gem serve as a tribute to the legacy of Captain Harper and his famed Lenoir High School Band.

(A Medley of Spirituals). By Mark Hayes. For SATB choir and piano (with optional Solo, 3 trumpets, 3 trombones, rhythm). Christ the King, Eastertide, General, Lent, Reformation, Sacred. Sacred Anthem

SATB choir, organ - Early Intermediate

SKU: AU.9781506495330

Composed by William Bradley Roberts. Advent, All Saints, Evening. Augsburg Choral Library. Christian. Octavo. Augsburg Fortress #9781506495330. Published by Augsburg Fortress (AU.9781506495330).

ISBN 9781506495330. 7 x 10.25 inches.

William Bradley Roberts wrote a new tune for this setting of a Susan Palo Cherwien text that is reminiscent of Psalm 23, asking for God’s steadfast presence and comfort in our lives. Scored for SATB choir with organ, the opening and closing stanzas are written for unison and two-part choir with a central SATB section that can also be sung in two parts. A flexible and compelling anthem that will be useful throughout the year.

Chamber Music Bass Drum, Crash Cymbals, Horn 1, Horn 2, Horn 3, Horn 4, Percussion 1, Percussion 2, Snare Drum, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3, Trumpet 4, Tuba

SKU: CF.W2695

Composed by John Stafford Smith. Arranged by Sean O'Loughlin. Set of Score and Parts. 12+1+1+1+1+1+1+1+1+1+1+1+ 1+2+1 pages. Carl Fischer Music #W2695. Published by Carl Fischer Music (CF.W2695).

ISBN 9781491159958. UPC: 680160918546.

This celebratory and dramatic rendition of The Star-Spangled Banner arranged for brass and percussion by Sean O'Loughlin has become a favorite of both the Oregon Symphony and Baltimore Symphony brass players, being played at sporting events including Portland Trailblazers NBA basketball games, Baltimore Orioles baseball games, and Baltimore Ravens football games.With fanfare flourishes and colorful touches, this grand arrangement gives each section an opportunity to play the melody, making for a truly dynamic experience.
In the winter of 2009 my good friend David Bamonte, who is the assistant principal trumpet in the Oregon Symphony, asked if I had written an arrangement of The Star-Spangled Banner for brass. The result is this version of The Star-Spangled Banner that was premiered at a Portland Trailblazers NBA basketball game at the Rose Garden in Portland, Oregon. It has enjoyed several performances at those games over the years, and the team has been led to victory after each performance. Coincidence? Over the past decade, this same arrangement has gone on to performances by the Baltimore Symphony brass and percussion at the Baltimore Orioles baseball games and the Baltimore Ravens football games.The arrangement itself was written to showcase the extraordinary talent and sound of the Oregon Symphony Brass players. Percussion parts were added later for an expanded performance. A brief opening and closing fanfare was added to set the stage for the tone and grandeur of the music. Throughout the arrangement, each section gets the opportunity to play the melody while adding some interesting colors to support the iconic anthem. It is instantly majestic and celebratory in nature and a fitting tribute to our great nation.

(Treble Solo, SATB Chorus and Organ). By Benjamin Britten (1913-1976). For Choral (SATB, Organ). BH Large Choral. 24 pages. Boosey and Hawkes #M051481699. Published by Boosey and Hawkes

Soli SATB, SATB Choir, 3 Flutes, 2 Oboes, english horn, 2 Violins, Viola, Basso continuo

SKU: CA.3112209

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. 3x 31.122/21 3 flutes, 1x 31.122/22 oboe 1, 1x 31.122/23 oboe 2, 1x 31.122/24 English horn. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas, Christmas. Set of Orchestra Parts. Composed 1724. BWV 122. 24 pages. Duration 16 minutes. Carus Verlag #CV 31.122/09. Published by Carus Verlag (CA.3112209).

ISBN 9790007207403. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score and parts available separately - see item CA.3112200.

Orchestra SATB vocal soli voices SATB, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112207

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Christmas. Study score. Composed 1724. BWV 122. 28 pages. Duration 16 minutes. Carus Verlag #CV 31.122/07. Published by Carus Verlag (CA.3112207).

ISBN 9790007141615. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score available separately - see item CA.3112200.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112213

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Single Part, Viola. Composed 1724. BWV 122. 4 pages. Duration 16 minutes. Carus Verlag #CV 31.122/13. Published by Carus Verlag (CA.3112213).

ISBN 9790007207434. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score and part available separately - see item CA.3112200.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112212

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Single Part, Violin 2. Composed 1724. BWV 122. 4 pages. Duration 16 minutes. Carus Verlag #CV 31.122/12. Published by Carus Verlag (CA.3112212).

ISBN 9790007207427. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score and part available separately - see item CA.3112200.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112200

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Full score. Composed 1724. BWV 122. 28 pages. Duration 16 minutes. Carus Verlag #CV 31.122/00. Published by Carus Verlag (CA.3112200).

ISBN 9790007097462. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112205

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Choral Score. Composed 1724. BWV 122. 4 pages. Duration 16 minutes. Carus Verlag #CV 31.122/05. Published by Carus Verlag (CA.3112205).

ISBN 9790007161910. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score available separately - see item CA.3112200.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112214

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Single Part, basso continuo. Composed 1724. BWV 122. 12 pages. Duration 16 minutes. Carus Verlag #CV 31.122/14. Published by Carus Verlag (CA.3112214).

ISBN 9790007207441. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score and part available separately - see item CA.3112200.

SATB vocal soli, 3 recorders, 2 oboes, english horn, 2 violins, viola, basso continuo

SKU: CA.3112211

Cantata for the Sunday after Christmas. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Das neugeborne Kindelein. Sacred vocal music, Cantatas, Christmas. Single Part, Violin 1. Composed 1724. BWV 122. 4 pages. Duration 16 minutes. Carus Verlag #CV 31.122/11. Published by Carus Verlag (CA.3112211).

ISBN 9790007207410. Language: German/English.

Mor e than usual, in this chorale cantata the hymn is continuously present; it appears as the cantus firmus in four of the six movements and gives the work an overall unity. In addition to the opening chorus and in the closing chorale, it appears in a trio, a rare occurrence in Bach's vocal works, and even in a recitative. The latter is performed by recorders. The rich scoring for winds - besides the recorders it also includes three oboes - characterizes this cantata, which is performed after Christmas and whose text refers back to Christmas and also points to the new year. Score and part available separately - see item CA.3112200.

Composed by Neil Harmon. Catholic Year A The Nativity of Our Lord. Christmas. Octavo. Published by MorningStar Music Publishers (MN.50-1133).

Orequesta sinfonica, Orquesta camara, voces y coro (Symphony Orchestra, Chamber Orchestra, Solo Voices and Choir)

SKU: BO.B.3472

A la memoria de Salvador Espriu. Composed by Xavier Benguerel. Vocal Music. Choir. Duration 85:00. Published by Editorial de Musica Boileau (BO.B.3472).

ISBN 9788480208130.

Engl ish comments: The Requiem in memory of Salvador Espriu by Xavier Benguerel was commissioned by the Torroella de Montgri International Music Festival for a double commemoration: on the one hand, to celebrate the tenth anniversary of the Festival, and on the other, in remembrance of Catalan poet Salvador Espriu in the fifth year after his death. This concert, which was held on 5 October, was a brilliant closing gala performance and it was repeated twice on 6 and 7 October at the Palau de la Musica Catalana in Barcelona. It was performed by the Orchestra and Choir of the Gran Teatro del Liceo, with soloists Enriqueta Tarres, soprano; Nelibel Martinez, mezzo soprano; Eduard Gimenez, tenor; and Carlos Chausson, baritone, with the additional collaboration of baritone Lluis Llach, conducted by Romano Gandolfi.

In my opinion, this work by Benguerel is a piece that was written with passion and sincerity, with great strength and depth, and it contains some very beautiful passages. It is written in a language through which, without abandoning his current musical thoughts, Benguerel manages to communicate with the audience in a dense work that lasts for an hour and a half. It is interspersed with seven poems by Espriu on the subject of death, some sung and others recited, which gives the Requiem great contrasts from a musical and linguistic point of view -in comparison with the Latin texts normally used in a requiem mass-, but within a successful and coherent unity. The performers certainly proved their worth, but much of the hard work that went into preparing the piece can be attributed not only to the performers, the composer and the poet in tribute to whom the work was written, but also to the conductor Romano Gandolfi, who is largely responsible for the success of the three performances of this Requiem. Benguerel himself says of the work: This Requiem is linked to my previous work, the Llibre Vermell, and it has been written without making any concessions, but with a true wish to communicate with the audience. I've got past the stage of musical experiments and I'm now working on bridging the gap between composer and audience, which I'm sure will be good for both.
--Comments written by Jordi Codina in the December 1990 issue of Nexus magazine

Comentario s del Espanol: El Requiem a la memoria de Salvador Espriu de Xavier Benguerel ha sido compuesto por encargo del Festival Internacional de Musica de Torroella de Montgri para una doble conmemoracion: por una parte, el decimo aniversario del Festival; por otra, el recuerdo de la figura del poeta catalan Salvador Espriu en el quinto ano de su fallecimiento. Este concierto, celebrado el dia 5 de octubre, constituyo una sesion de gala y de clausura brillante y tuvo una doble repeticion los dias 6 y 7en el Palau de la Musica Catalana de Barcelona. Fueron sus interpretes la Orquesta y el Coro del Gran Teatro del Liceo, con los solistas vocales Enriqueta Tarres, soprano; Nelibel Martinez, mezzo; Eduard Gimenez, tenor; y Carlos Chausson, baritono, con la colaboracion del tambien baritono Lluis Llach. Todos bajo la direccion de Romano Gandolfi.

A mi entender, la obra de Benguerel es una partitura escrita con pasion y sinceridad, posee una gran solidez, es profunda y contiene pasajes de una gran belleza. Esta escrita en un lenguaje con el que Benguerel, sin renunciar a su actual pensamiento musical, alcanza la comunicacion con el publico en una obra densa que dura una hora y media. La intercalacion de siete poemas de Espriu relacionados con el tema de la muerte, en una interpretacion cantada o recitada, segun los casos, otorga al Requiem grandes contrastes desde un punto de vista musical y lingŸistico Ð en contraposicion con los textos latinos propios de una misa de requiem Ð, pero dentro de una unidad conseguida y coherente. La labor de los interpretes demostro su categoria y el trabajo exhaustivo en la preparacion de la obra, que, ademas de los interpretes, el compositor y el poeta homenajeado, tuvo otro gran protagonista en la persona del director Romano Gandolfi, a quien se debe una gran parte del exito obtenido en las tres audiciones de este Requiem. El propio Benguerel ha dicho de la obra: Este Requiem entronca con mi obra anterior, el Llibre Vermell, y ha sido escrito sin concesiones, pero con una voluntad real de comunicacion con el publico. La epoca de los experimentos musicales ya se me paso y he entrado en una nueva etapa de acercamiento entre el compositor y el publico que, estoy convencido, beneficiara a ambos.
--Comentario escrito por Jordi Codina en la revista Nexus en diciembre de 1990

Trombone quartet

SKU: P2.80184

Composed by James Meador. Chamber music, Contemporary. Published by Potenza Music (P2.80184).

Quartet No. 1 by James Meador was written in the summer of 2004 and premiered in August of that same year by the UL Lafayette Trombone Quartet at a benefit concert for the Acadiana Symphony Orchestra in Lafayette, Louisiana. The piece consists of two movements, each designed to highlight the choral characteristics of the trombone quartet (or trombone choir), but with a strong emphasis on dissonance.
Novus Sonorous opens with a rhythmic and dissonant introduction before leading into a three way struggle for the melody. A singing line eventually emerges and leads us into a powerful chordal motive, then backs down to another closely scored and dissonant chorale. The opening statement returns briefly and carries us back to the mighty chordal section before a mournful and ponderous conclusion.
Ludus Tonalis begins with an intense and again closely scored, very dissonant chorale figure, then immediately jumps into a playful mixed meter section bouncing around from 7/8 to 2/4 to 6/8. This section leads into a sort of rhythmic fanfare where the melody is derived from entrances of the chord tones, then dies down into somewhat of a dark portrayal of the main theme in a choral style. Once again we encounter the playful section before closing out the piece on a forceful and energetic drive to the end.

Chorus a cappella

SKU: BR.CHB-3142-02

Urtext. Composed by Giovanni Pierl da Palestrina. Edited by Rudolf Ewerhart. Choir; stapled. Chor-Bibliothek (Choral Library). Mass; Renaissance/early Baroque. Choral score. 20 pages. Breitkopf and Haertel #ChB 3142-02. Published by Breitkopf and Haertel (BR.CHB-3142-02).

ISBN 9790004403471. 7.5 x 10.5 inches.

Palestrina' s Missa Iste confessor is contained in the Missarum liber quintus, the composer's fifth book of masses which was first printed in Rome in 1590 and reprinted the following year in Venice. Palestrina dedicated this book of masses to the art-loving Duke Wilhelm V of Bavaria, the lord and patron of his famous contemporary Orlando di Lasso.The thematic substance of the mass is based on the old, eponymous hymn melody from the Commune Confessorum. The various parts of the hymn not only constitute the melodic framework for the principal themes of the different movements, but are also heard in melodic and rhythmic variations at a great number of places within the movements.The Missa Iste corifessor had been published several decades ago by Breitkopf & Hartel in a practical edition prepared by Hermann Bauerle. Our edition is based on the print of 1590, a copy of which was consulted at the Bayerische Staatsbibliothek in Munich. For today's choral practice, it seemed preferable to transpose the mass, which was originally in the eighth church mode. The note values were reduced by a half and, departing from the original, the closing notes are reproduced uniformly as longae.The Missa Iste confessor has long ranked as one of the most widely admired masses of the Roman master. The compact dimensions, the simplicity and suaveness of the melodic lines, the model vocal declamation all constitute assets which elevate this mass to an exemplary level and reveal the hand of the great master in spite of its brevity.Rudolf Ewerhart, May 1961 Munster/Westfalen.

Fanfare Band - Grade 4

SKU: BT.DHP-1196115-020

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Set (Score & Parts). Composed 2019. De Haske Publications #DHP 1196115-020. Published by De Haske Publications (BT.DHP-1196115-020).

English-German-French- Dutch.

Hora Est! (Latin for ‘it is time!’) was composed to bid adieu to Sjoerd de Boer’s following forty years as conductor of the Chr. Fanfare Band, based in the town of Wjelsryp in the Netherlands. In the Netherlands, this small phrase, hora est, is traditionally said upon awarding a university doctorate at graduation ceremonies. The composition was written with Sjoerd de Boer firmly in mind, mirroring various aspects of his life. The main motif of the work consists of three notes, forming his initials: S (Eb) D B. At a certain point, the music is interrupted by a thunderstorm and heavy rain (forever a bad omen: the debut for this work took place a day after such a deluge, but fortunately their open-air concert was met with clear blue skies.) The fanfare then plays an Italianesque march, with the motif of de Boer’s initials interwoven throughout. The work re-uses this motif twice towards the end of the piece as one might expect, by the saxophones to create a festive, driven and virtuosic atmosphere. Finally, the work comes to an end with the initials motif played across the ensemble in complete unison. The powerful closing chords symbolise a fond farewell to de Boer: a driven and extremely capable conductor whose musical mark on Concordia will be felt for years to come. Hora Est! is suitable as a contest piece and would be a definite highlight for any upcoming concert.

Hora Est! is gecomponeerd ter gelegenheid van het afscheid van Sjoerd de Boer als dirigent van Chr. Fanfarekorps Concordia uit Wjelsryp (Friesland), na maar liefst veertig jaar. Hora Est! is Latijn voor ‘Het is tijd!’. Het zinnetje wordt traditioneel uitgesproken bij een promotie tot doctor op de universiteit, op het moment dat de vastgestelde tijd voor verdediging van het proefschrift om is. De pedel komt dan binnen en stampt met zijn staf op de grond terwijl hij deze woorden roept. In dat opzicht verwijst de titel naar de voormalige universiteitsstad Franeker, de woonplaats van Sjoerd en de stad waar hij jaren lang leraar muziek was aan de christelijke scholengemeenschap. Anderzijds verwijst de titel naar zijn afscheid van Concordia: ‘Het is tijd!’.

Fanfare Band - Grade 4

SKU: BT.DHP-1196115-120

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Score Only. Composed 2019. 40 pages. De Haske Publications #DHP 1196115-120. Published by De Haske Publications (BT.DHP-1196115-120).

English-German-French- Dutch.

Hora Est! (Latin for ‘it is time!’) was composed to bid adieu to Sjoerd de Boer’s following forty years as conductor of the Chr. Fanfare Band, based in the town of Wjelsryp in the Netherlands. In the Netherlands, this small phrase, hora est, is traditionally said upon awarding a university doctorate at graduation ceremonies. The composition was written with Sjoerd de Boer firmly in mind, mirroring various aspects of his life. The main motif of the work consists of three notes, forming his initials: S (Eb) D B. At a certain point, the music is interrupted by a thunderstorm and heavy rain (forever a bad omen: the debut for this work took place a day after such a deluge, but fortunately their open-air concert was met with clear blue skies.) The fanfare then plays an Italianesque march, with the motif of de Boer’s initials interwoven throughout. The work re-uses this motif twice towards the end of the piece as one might expect, by the saxophones to create a festive, driven and virtuosic atmosphere. Finally, the work comes to an end with the initials motif played across the ensemble in complete unison. The powerful closing chords symbolise a fond farewell to de Boer: a driven and extremely capable conductor whose musical mark on Concordia will be felt for years to come. Hora Est! is suitable as a contest piece and would be a definite highlight for any upcoming concert.

Hora Est! is gecomponeerd ter gelegenheid van het afscheid van Sjoerd de Boer als dirigent van Chr. Fanfarekorps Concordia uit Wjelsryp (Friesland), na maar liefst veertig jaar. Hora Est! is Latijn voor ‘Het is tijd!’. Het zinnetje wordt traditioneel uitgesproken bij een promotie tot doctor op de universiteit, op het moment dat de vastgestelde tijd voor verdediging van het proefschrift om is. De pedel komt dan binnen en stampt met zijn staf op de grond terwijl hij deze woorden roept. In dat opzicht verwijst de titel naar de voormalige universiteitsstad Franeker, de woonplaats van Sjoerd en de stad waar hij jaren lang leraar muziek was aan de christelijke scholengemeenschap. Anderzijds verwijst de titel naar zijn afscheid van Concordia: ‘Het is tijd!’.