Compiled by Stephen Rekas. For Guitar (Classical). Solos. Contemporary. Level: I...(+)
Compiled by Stephen
Rekas. For Guitar
(Classical). Solos.
Contemporary. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 200
pages. Published by Mel
Bay Publications, Inc.
Presented by Illumination Entertainment. Composed by Danny Elfman, Tyler, and ...(+)
Presented by Illumination
Entertainment. Composed
by
Danny Elfman, Tyler, and
the
Creator.
Piano/Vocal/Guitar
Songbook. Movies,
Children.
Softcover. 96 pages.
Published by Hal Leonard
Mixed Choir [SATB], Chamber Orchestra or Organ SKU: BT.PMC3367 For Cho...(+)
Mixed Choir [SATB],
Chamber Orchestra or
Organ
SKU:
BT.PMC3367
For
Chorus and Chamber
Orchestra or Organ- Organ
Score. Composed by
Morten Lauridsen. Vocal
Score. Composed 1997. 56
pages. Peermusic
Classical #PMC3367.
Published by Peermusic
Classical (BT.PMC3367).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen.
Illumination Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Bob Lipton. Edited by J. Cameron Law. For string orchestra. Grad...(+)
Composed by Bob Lipton.
Edited
by J. Cameron Law. For
string
orchestra. Grade 3. Score
and
set of parts. Duration 3
minutes, 45 seconds.
Published
by Grand Mesa Music
Choral (Orchestra Accompaniment) SKU: HL.35028413 Composed by Joseph M. M...(+)
Choral (Orchestra
Accompaniment)
SKU:
HL.35028413
Composed
by Joseph M. Martin.
Harold Flammer Christmas.
Christmas Sacred,
Epiphany. CD-ROM, Score
and Parts. Published by
Shawnee Press
(HL.35028413).
UPC:
884088653583. 4.75x5
inches.
Uses:
Epiphany
Script
ure: Matthew
2:1-12
This up
tempo anthem is a
stimulating admonition to
seek the light of Christ
and His illumination.
Well suited for Epiphany,
this rousing theme has
touches of sadness
suggesting the shadows
that surround the young
Messiah in the days and
years following His
birth. Using a well-known
carol tune helps draw the
listener close and aids
the learning process. A
crisp approach to diction
and articulation will
yield success in your
presentation. Available
separately: SATB,
StudioTrax CD,
Orchestration CD-rom
(Score & parts for Flute
1&2, Oboe, Clarinet 1&2,
Bassoon, Horn 1&2,
Trumpet 1, Trumpet 2&3,
Trombone 1&2, Bass
Trombone/Tuba, Timp, Perc
1&2, Harp, Piano, Violin
1, Violin 2, Viola,
Cello, Double Bass).
Duration: ca. 3:11.
Volume 101 - Secret Of The Andes - Andy LaVerne Tunes by Andy Laverne. Edited by...(+)
Volume 101 - Secret Of
The Andes - Andy LaVerne
Tunes by Andy Laverne.
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jamey Aebersold
Play-A-Long series.
Intermediate, advanced.
Book and CD. 64 pages.
Published by Jamey
Aebersold Jazz
Mixed Choir (SATB a cappella) SKU: HL.49047305 SATB a cappella. Co...(+)
Mixed Choir (SATB a
cappella)
SKU:
HL.49047305
SATB a
cappella. Composed by
Pierre Jalbert. Edited by
Judith Clurman. Choral.
Classical. Octavo. 6
pages. Schott Music
#ED30442. Published by
Schott Music
(HL.49047305).
ISBN
9798350120301. UPC:
196288198147.
6.75x10.5x0.046
inches.
Composed by Amy Quate.
Leduc. Classical. CD. 16
pages. Alphonse Leduc
#AL27190. Published by
Alphonse Leduc
(HL.48184235).
UPC:
888680904852.
9.0x12.0x0.065
inches.
“Contempo
rary composer Amy Quate
works in a wide variety
of musical styles, forms
and media. Composed in
1982 and dedicated to
saxophonist Debra
Richtmeyer, Light of
Sothis creatively depicts
the brightest star in
heaven. Sothis, now
called Sirius, is the
star aspect of the
goddess Isis, whose light
confines the cycles of
nature which bring
beauty, prosperity and
life. It is believed that
Sothis blesses us with
sacred illumination and
it is this which Quate
depicts in Light of
Sothis. In three
movements, Grace, Passion
and Faith, the Saxophone
line has lyrical melodies
contrasted with dramatic
scalic passages, covering
the entire range of the
instrument. Suitable for
intermediate level
saxophonists, a
performance Quate's Light
of Sothis proves to be an
enticing
prospect.”.
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In ...(+)
Violoncello - Level 5
SKU: BA.BA11071
Composed by Matthias
Pintscher. In a folder.
Part II of the cycle
Profiles of Light.
Performance score.
Composed 2015. 4 pages.
Baerenreiter Verlag
#BA11071_00. Published by
Baerenreiter Verlag
(BA.BA11071).
ISBN
9790006562015. 42 x 29.7
cm inches.
“Now
II” is the second part
of a triptych of chamber
pieces entitled
“Profiles of Light”.
The first part is written
for solo piano (Now I, BA
11073), the second for
unaccompanied cello. The
two instruments are then
combined in the
concluding third part,
Uriel (BA
11013).
All three
pieces were inspired by
the Abstract
Expressionist paintings
of the American artist
Barnett Newman. Newman's
work has had a formative
impact on Matthias
Pintscher's artistic
philosophy: what does it
mean to reduce things to
essentials while seeking
maximum immediacy of
expression? Several of
Newman's paintings have a
radiant light of uncommon
intensity, yet resembling
a dark illumination. The
same sort of thing is
found in the late works
of Franz Schubert, where
a comparable profundity
and retrospective
yearning likewise shine
through the surface of
even the brightest
tonalities.
This
is a piece about
resonances, about the
inward and outward givens
of existence, about life
itself: 'I find the cello
a highly suitable
instrument for depicting
such existential
conditions'.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02).
ISBN
9790004412046. 7.5 x 10.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Choral (Studiotrax CD) SKU: HL.35028414 Composed by Joseph M. Martin. Har...(+)
Choral (Studiotrax CD)
SKU: HL.35028414
Composed by Joseph M.
Martin. Harold Flammer
Christmas. Epiphany. CD
only. Published by
Shawnee Press
(HL.35028414).
UPC:
884088653590. 5x5
inches.
Uses:
Epiphany
Script
ure: Matthew
2:1-12
This up
tempo anthem is a
stimulating admonition to
seek the light of Christ
and His illumination.
Well suited for Epiphany,
this rousing theme has
touches of sadness
suggesting the shadows
that surround the young
Messiah in the days and
years following His
birth. Using a well-known
carol tune helps draw the
listener close and aids
the learning process. A
crisp approach to diction
and articulation will
yield success in your
presentation. Available
separately: SATB,
StudioTrax CD,
Orchestration CD-rom
(Score & parts for Flute
1&2, Oboe, Clarinet 1&2,
Bassoon, Horn 1&2,
Trumpet 1, Trumpet 2&3,
Trombone 1&2, Bass
Trombone/Tuba, Timp, Perc
1&2, Harp, Piano, Violin
1, Violin 2, Viola,
Cello, Double Bass).
Duration: ca. 3:11.
Violin & Piano SKU: SU.81001067 For Violin & Piano. Composed by Da...(+)
Violin & Piano
SKU:
SU.81001067
For
Violin & Piano.
Composed by David Lang.
Strings, Violin. Score &
Parts. Subito Music
Corporation #81001067.
Published by Subito Music
Corporation
(SU.81001067).
Violin & piano
Duration: 10' Composed:
1981 Published by: Red
Poppy Ltd.
Illumination Piano seul Music Distribution Services
Piano SKU: M7.DOHR-98537 Composed by Andreas Staffel. Sheet music. Compos...(+)
Piano
SKU:
M7.DOHR-98537
Composed by Andreas
Staffel. Sheet music.
Composed 1998. 10 pages.
MDS (Music Distribution
Services) #DOHR 98537.
Published by MDS (Music
Distribution Services)
(M7.DOHR-98537).
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
