Trio in Three Movements Trio à Cordes: violon, alto, violoncelle [Conducteur et Parties séparées] Schott
Trio in Three Movements. (Score and Parts). By Hans-Werner Henze. For Cello, Vio...(+)
Trio in Three Movements.
(Score and Parts). By
Hans-Werner Henze. For
Cello, Viola, Violin,
String Trio. Schott.
Score and Parts. 63
pages. Schott Music
#ED9143. Published by
Schott Music
By Padre Antonio Soler. Edited by Willard A. Palmer. For Piano. Piano Solo. Mast...(+)
By Padre Antonio Soler.
Edited by Willard A.
Palmer. For Piano. Piano
Solo. Masterwork. Level:
Early Advanced (grade 6
). Sheet. 8 pages.
Published by Alfred
Publishing.
Solo voices, SATB chorus, orchestra (Soprano solo (2), Tenor solo, Mixed choir (...(+)
Solo voices, SATB chorus,
orchestra (Soprano solo
(2), Tenor solo, Mixed
choir (SATB), Orchestra)
SKU: BA.BA09092
A Symphony-Cantata
after Texts from the Holy
Scriptures. Composed
by Felix Bartholdy
Mendelssohn. Edited by
John Michael Cooper. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 52,
MWV A 18. Baerenreiter
Verlag #BA09092_00.
Published by Baerenreiter
Verlag (BA.BA09092).
ISBN 9790006565795. 31
x 24.3 cm inches. Text
Language: German,
English. Preface: John
Michael Cooper. Text:
Mendelssohn Bartholdy,
Felix (nach der
Luther-Bibel und Martin
Rinckart) / Monicke,
Charles
Henry.
Mendelssohn
€™s contemporaries
frequently mentioned his
“Hymn of
Praise†in the same
breath as
Beethoven’s Ninth
– and often enough
viewed it as an
imitation. Mendelssohn
authority John Michael
Cooper, in his extensive
Introduction to this new
Urtext edition, shows
that the comparison is
completely unfounded:
with this work
Mendelssohn created a new
genre to which he gave
the name
“symphony-cantataâ
€. Later he added a
secular counterpart with
“Die Erste
Walpurgisnachtâ€.
Drawing on all
relevant sources, Cooper
provides a detailed
account of the genesis
and structure of this
monumental work. Rounding
off his scholarly
performing edition are
notes on the
work’s
performance, e.g. tempo,
articulation and
dynamics.
For the
first time the piano
reduction includes
Mendelssohn’s
authorised version of the
“Sinfoniaâ€,
based on the first
edition of No. 1 for
piano solo.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Concert band - Grade 2 SKU: CL.024-4172-01 Composed by Wampler. Young Con...(+)
Concert band - Grade 2
SKU:
CL.024-4172-01
Composed by Wampler.
Young Concert Band.
Rising Band Series for
Developing Bands! Audio
recording available
separately (item
CL.WFR380). Extra full
score. Composed 2013.
Duration 1 minute, 48
seconds. C.L. Barnhouse
#024-4172-01. Published
by C.L. Barnhouse
(CL.024-4172-01).
Looking for a
piece that introduces the
chromatic scale in a
meaningful way for the
entire band? This lively
march gives every player
part of the chromatic
scale as well as a
musical melody and
countermelody. Introduce
the march form with an
intro, 1st strain,
transition, 2nd strain,
trio and recapitulation.
Open your concert with a
sound that shows off your
band!
Vocal soli, choir, orchestra, congregation, organ SKU: CA.4019813 Compose...(+)
Vocal soli, choir,
orchestra, congregation,
organ
SKU:
CA.4019813
Composed
by Heinrich von
Herzogenberg. Viola.
Sacred vocal music,
Oratorios, Special days.
Single Part, Viola. Op.
104. 40 pages. Duration
150 minutes. Carus Verlag
#CV 40.198/13. Published
by Carus Verlag
(CA.4019813).
ISBN
9790007217983. Language:
German.
The present
publication finally
closes the gap in the
availability of the three
church oratorios of
Heinrich von Herzogenberg
(1843-1900). With this
late work, which he
considered his most
important, Heinrich von
Herzogenberg set the
musical high point of the
15th Conference of the
German Church Song
Association in Strasbourg
(1899), and also of his
entire career. The
celebration of the
harvest provides an
interesting look into the
stylistic diversity of
church music at the end
of the 19th century, and
shows the composer's
aptitude for dramatic
presentation in a special
way. Score and part
available separately -
see item CA.4019800.
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Walter Bergmann.
Choir; folded. Eulenburg
Orchestral Series.
Renaissance/early
Baroque; Baroque. Part. 4
pages. Duration 20'.
Breitkopf and Haertel
#EOS 1062-16. Published
by Breitkopf and Haertel
(BR.EOS-1062-16).
ISBN
9790004785645. 8.5 x 11.5
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).
Violine 2 SKU: CA.2300262 Passion oratorio. Composed by Carl Loewe...(+)
Violine 2
SKU:
CA.2300262
Passion
oratorio. Composed by
Carl Loewe. Edited by
Reinhold Kubik, Claudia
Seidl. Violin 2. Sacred
vocal music, Oratorios,
Passions, Lent and
Passiontide, Holy Week.
Individual part. Composed
presumably 1847. 36
pages. Duration 105
minutes. Carus Verlag #CV
23.002/62. Published by
Carus Verlag
(CA.2300262).
ISBN
9790007247935. Language:
German.
Carl Loewe
is known nowadays almost
exclusively as a composer
of ballads, but he was
close to the spirit of
his time and also
composed a number of
oratorios for the amateur
choirs which became so
numerous in the
Biedermeier period. Das
Suhnopfer des neuen
Bundes reveals a wealth
of expressivity using
only a modest scoring.
The solo parts can easily
be performed by good
amateurs, the well-known
chorales give audiences
the opportunity to join
in the singing, and the
scoring, mainly for small
string group, underlines
the emotions expressed by
the soloists. In this
oratorio we can hear
Loewe's admiration for
the Bach Passions, yet
his characteristic
musical language, typical
of the time, shows that
something new could
develop from it. Score
and part available
separately - see item
CA.2300200.
Choir (SATB a cappella) SKU: HL.49045002 For SATB Chorus A Cappella (G...(+)
Choir (SATB a cappella)
SKU: HL.49045002
For SATB Chorus A
Cappella (German).
Composed by Andreas
Pieper. This edition:
Saddle stitching. Sheet
music. Choral. Classical.
Octavo. 8 pages. Schott
Music #C56393. Published
by Schott Music
(HL.49045002).
ISBN
9790001199575.
German.
Wie schon
ist es, dem Herrn zu
danken - these
affirmative words from
Psalm 92 were used by
Andreas Pieper as a basis
of his composition of the
same name for mixed a
cappella choir (SATB),
thus creating a sacred
choral work that is
perfect for ambitious
amateur choirs and for
use in church services.
In this psalm song for
the Sabbath day, the
eternal joy at and
gratitude for the deeds
of the Lord become
apparent both in the text
and the music. In
addition, the musical
realization of the hymn
of thanksgiving shows
once again Pieper's
predilection for a
cappella singing. Such a
limitation of the
external means gives him,
by his own account, 'a
sense of freedom and
concentration on the
central
musico-theological
statement'. See for
yourself!
Solo S, Coro SATB, 2 Vl, Vc/Cb, Org - Level 2 SKU: CA.4060049 Little o...(+)
Solo S, Coro SATB, 2 Vl,
Vc/Cb, Org - Level 2
SKU: CA.4060049
Little organ mass.
Composed by Franz Joseph
Haydn. Edited by Willi
Schulze. Carus sheet
music series: Vocal
scores XL. Organ.
Innovative practice aids,
Sacred vocal music, Missa
brevis in Latin. Single
Part, Organ. Composed
circa 1778 (terminus ante
quem). Hob. XXII:7. 16
pages. Duration 20
minutes. Carus Verlag #CV
40.600/49. Published by
Carus Verlag
(CA.4060049).
ISBN
9790007245122. Key: B
flat major. Language:
Latin.
With the
Missa Sancti Nicolai and
the Missa Sancti Joannis
de Deo, his last to
missae breves, Haydn also
achieved masterworks in
this category, and during
his lifetime they
numbered among his most
popular works. This so
called Little Organ Solo
Mass has never been
accused of being
unsuitable for church use
despite the text
stratification in the
Gloria and Credo. Inspite
of the unusual brevity of
the Gloria (31 bars), the
text setting still shows
musical differentation.
The strength of the
composition lies in its
expressive ability to
force the listener under
its spell with magic
power. The full score
contains at the same time
the organ part. Score and
part available separately
- see item
CA.4060000.
Choral (SATB Choir) SKU: HL.48022495 SATB and Harp or Piano, New Editi...(+)
Choral (SATB Choir)
SKU: HL.48022495
SATB and Harp or
Piano, New Edition.
Composed by Benjamin
Britten. Boosey & Hawkes
Sacred Choral. Classical.
Octavo. 12 pages. Boosey
& Hawkes #M051481583.
Published by Boosey &
Hawkes (HL.48022495).
ISBN 9781476871486.
UPC: 884088669676.
6.75x10.5
inches.
Texts:
Latin and
English
Publisher:
Boosey &
Hawkes
Difficulty
level: 3
The
Ceremony of Carols is
one of Britten's
best-known and
most-performed works. It
is a brilliantly
conceived and dramatic
concert work which sees
the voices process to
their places singing
unaccompanied plainsong
and, at the end,
processing out again to
the same chant. These
movements can also be
accompanied but strictly
only if the voices do not
process. The final
Alleluia can be repeated
as many times as
necessary to get the
singers to and from their
destination.The carols
are for three-part
children's voices
(though, of course they
can be sung by female
adults as well) and they
form a two-part work
around a central
Interlude for harp which
is based on the plainsong
from the Procession.
Variety is the key word
here as all the carols
have such individual
identities. The
forthright Wolcum Yole!,
the deliciously lyrical
There is no Rose, the
swinging Balulalow, the
fiery and dramatic This
little Babe all
contribute to a work
which is a feast of
discovery throughout.
Lovely solos and duos add
further colour and the
harp part, an inspired
choice of accompaniment,
enriches, colours and
surrounds the voices with
its pictorial musical
imagery. If anything
shows Britten's genius
for writing for voices it
must be this
work.
The
challenges here are in
creating a real equality
between voice parts,
fielding a confident pair
of soloists, and making
the most of the
wonderfully colourful
poems Britten has chosen
to set. Pronunciation is
not really an issue, but
when I recorded this work
with the Finzi Singers I
decided to follow the
example of Sacred and
Profane and use authentic
medieval pronunciation
for which an expert coach
was necessary. It brings
an added element of
colour to a familiar
aural
experience.
SAB choir (with optional divisi), organ - Medium SKU: PL.0110 Composed by...(+)
SAB choir (with optional
divisi), organ - Medium
SKU: PL.0110
Composed by Joel
Martinson. Parish.
Choral, General. Octavo.
Paraclete Press #0110.
Published by Paraclete
Press (PL.0110).
This piece
shows all the hallmarks
of Joel Martinson's
expressive style. The
text by Delores Dufner,
OSB, is fresh and
appealing as is the
musical setting. The
opening rhythmic theme
supports the text of
praise, while the quieter
section illuminates words
of thanksgiving. The
piece concludes with a
jubilant alleluia. The
organ part is a major
voice itself, providing
an exciting impetus to
the piece.
Composed by Gunther
Martin Gottsche. Sacred
vocal music, Magnificats,
Advent. Choral Score. Op.
Op. 94. 20 pages.
Duration 20 minutes.
Carus Verlag #CV
27.210/05. Published by
Carus Verlag
(CA.2721005).
ISBN
9790007186326. Language:
Latin.
The
Magnificat shows the
typical personal style of
the composer Gunther
Martin Gottsche, who was
inspired by the colorful
harmonics of French
Impressionism as well as
by elements of jazz
music. He has given equal
consideration to both the
vocal line and the ease
of execution as well as
an understanding for the
musical events and a
comprehensible
interpretation of the
text. The work, which was
revised at the beginning
of 2016, is based on an
earlier work commissioned
for the Dresden
Kreuzkirche. A version
with organ accompaniment
(instead of orchestra) is
also available. Score
available separately -
see item CA.2721000.
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F).
ISBN
9781491131749. UPC:
680160680276.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Folder.
Orchester-Bibliothek
(Orchestral Library).
Klaus Doge has
critically re-examined
all the surviving
sources. His research has
yielded a new,
text-critical edition
that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edit. Solo
concerto; Romantic. Set
of parts. 162 pages.
Duration 42'. Breitkopf
and Haertel #OB 5290-30.
Published by Breitkopf
and Haertel
(BR.OB-5290-30).
ISBN
9790004334775. 9 x 12
inches.
Choosing an
edition of this
celebrated violoncello
concerto has always posed
a dilemma: they were
based either on the first
edition, which was not
given a final
authorization by Dvorak,
or solely on the
autograph, which does not
represent the final
version in many
instances. This was the
case with the Dvorak
Complete Edition of 1955,
for example. Klaus Doge
has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edition. In the
conclusions he draws for
performance practice,
Doge generally gives
priority to the first
edition. However, he does
not smooth out Dvorak's
special notation, such as
Dvorak's publisher
Simrock did in his day.
Doge's edition also shows
that the musical text is
not as authenticated as
has been suggested by
previous editions.
Variants have
occasionally been notated
on a second staff at
several passages,
particularly in the solo
part. The piano
reduction, which was
prepared by the composer
himself, has been edited
according to
text-critical criteria
for the first time as
well. Doge was able to
rely on a renowned
performer for this part
of his work: Heinrich
Schiff, who arranged the
solo part and provides
valuable interpretative
tips in his commentaries
on performance
practice.
SKU: HL.457341 Chauvet Lighting. Lighting. Duration 195 seconds. Hal Leon...(+)
SKU: HL.457341
Chauvet Lighting.
Lighting. Duration 195
seconds. Hal Leonard
#SLIMPART6BT. Published
by Hal Leonard
(HL.457341).
UPC:
781462220570.
10.5x12.0x5.132
inches.
SlimPAR
T6BT is a low profile,
high output wash light
featuring six tri-color
(RGB) LEDs and built-in
Bluetooth® wireless
technology. Enjoy easy
lighting control of
SlimPAR T6BT from any
smartphone or tablet
using BTAir. SlimPAR T6BT
is an excellent front
light for bands, and
switching lighting looks
at the touch of a button
on a mobile device allows
hands to quickly return
to musical instruments.
Mobile DJs can program
orchestrated light shows
using Master/Slave and
DMX, or simply entertain
with SlimPAR T6BT's
built-in automated
programs accessible via
the optional IRC-6
remote. Flicker-free
output makes SlimPAR T6BT
an ideal wash light for
broadcast streaming
applications, and power
linking multiple units
saves time running
cables. Lightweight,
compact SlimPAR T6BT
easily fits inside sticks
of TRUSST, as well as the
CHS-30 VIP Gear Bag for
safe gig-to-gig
transport.
Little
organ mass. Composed
by Franz Joseph Haydn.
Edited by Willi Schulze.
Carus plus: Innovative
practice aids; Sacred
vocal music, Missa brevis
in Latin; Carus sheet
music series: Vocal
scores XL. Carus sheet
music series: Vocal
scores XL. XL in large
print. Innovative
practice aids, Sacred
vocal music, Missa brevis
in Latin. Vocal score.
Composed circa 1778
(terminus ante quem).
Hob. XXII:7. 28 pages.
Duration 20 minutes.
Carus Verlag #CV
40.600/04. Published by
Carus Verlag
(CA.4060004).
ISBN
9790007240967. Key: B
flat major. Language:
Latin.
With the
Missa Sancti Nicolai and
the Missa Sancti Joannis
de Deo, his last to
missae breves, Haydn also
achieved masterworks in
this category, and during
his lifetime they
numbered among his most
popular works. This so
called Little Organ Solo
Mass has never been
accused of being
unsuitable for church use
despite the text
stratification in the
Gloria and Credo. Inspite
of the unusual brevity of
the Gloria (31 bars), the
text setting still shows
musical differentation.
The strength of the
composition lies in its
expressive ability to
force the listener under
its spell with magic
power. The full score
contains at the same time
the organ part. Score
available separately -
see item CA.4060000.
Choir SKU: GI.G-4615 Music for Lent, Triduum and Eastertime. Compo...(+)
Choir
SKU:
GI.G-4615
Music
for Lent, Triduum and
Eastertime. Composed
by Scott Soper. Sacred.
Collection. GIA
Publications #4615.
Published by GIA
Publications (GI.G-4615).
GIA is
delighted to present its
first collection by
established composer
Scott Soper. In this
collection of music for
Lent, Triduum, and
Eastertime, Scott shows
off his compositional
skills: a gift for
melody, refined
harmonies, evocative
interpretations of psalms
and canticles, and
arrangements of
traditional tunes.
Whether the style is
gospel, blues,
contemporary Christian,
or traditional, Scott's
songs are musical
pictures that your choir
and assembly will sing
with ease. CONTENTS:
SPIRIT WIND (G-4624)
• ON THAT DAY
(G-4622) • WHO WILL
STAND UP (G-4626) •
YOU LIFE UP MY LIFE
(G-4627) • GLORY IN
THE CROSS/LITANY OF THE
SAINTS (G-4617) •
HOSANNA (G-4619) •
NO TURNING BACK (G-4621)
• HAVE MERCY ON US
(G-4618) • WERE YOU
THERE (G-4625) •
SONG OF MOSES (G-4623)
• MY LIFE IS IN
YOUR HANDS (G-4620)
• CHILDREN OF THE
LIGHT (G-4616)Â .
Violine 1 SKU: CA.2300261 Passion oratorio. Composed by Carl Loewe...(+)
Violine 1
SKU:
CA.2300261
Passion
oratorio. Composed by
Carl Loewe. Edited by
Reinhold Kubik, Claudia
Seidl. Violin 1. Sacred
vocal music, Oratorios,
Passions, Lent and
Passiontide, Holy Week.
Individual part. Composed
presumably 1847. 36
pages. Duration 105
minutes. Carus Verlag #CV
23.002/61. Published by
Carus Verlag
(CA.2300261).
ISBN
9790007247928. Language:
German.
Carl Loewe
is known nowadays almost
exclusively as a composer
of ballads, but he was
close to the spirit of
his time and also
composed a number of
oratorios for the amateur
choirs which became so
numerous in the
Biedermeier period. Das
Suhnopfer des neuen
Bundes reveals a wealth
of expressivity using
only a modest scoring.
The solo parts can easily
be performed by good
amateurs, the well-known
chorales give audiences
the opportunity to join
in the singing, and the
scoring, mainly for small
string group, underlines
the emotions expressed by
the soloists. In this
oratorio we can hear
Loewe's admiration for
the Bach Passions, yet
his characteristic
musical language, typical
of the time, shows that
something new could
develop from it. Score
and part available
separately - see item
CA.2300200.
SKU: AP.50316 Classical Play-Along Songs for Bucket Drums and Classroo...(+)
SKU: AP.50316
Classical Play-Along
Songs for Bucket Drums
and Classroom
Percussion. By Larry
Carlton. Edited by
Carolcuellar / Richard
Martin. Classroom
Resources;
Classroom/Pre-School;
General Music and
Classroom Publications;
Method/Instruction; Other
Classroom; Reproducible;
Rhythm/Activity.
Masterwork Arrangement.
Book & Online PDF/Audio.
48 pages. Alfred Music
#00-50316. Published by
Alfred Music (AP.50316).
ISBN 9781470663957.
UPC: 038081574868.
English.
Experience
classical music in a new
way---playing along with
bucket drums! Add
optional classroom
instruments for even more
fun. This curated
collection of earworms
includes highlights from
classical composers like
Pachelbel, Mozart,
Beethoven, and Strauss.
These themes have stood
the test of time and are
still heard in movies, TV
shows, and commercials
today. Teaching
suggestions, playing
tips, complete score, and
student parts are
provided. Digital access
allows you to download
complete and
accompaniment-only tracks
as well as PDFs for
printing or projecting.
Grab your sticks,
buckets, and instruments
to take a musical journey
from In the Hall of the
Mountain King to the
William Tell Overture!
Recommended for grade
five and up.
Saxophone SKU: KV.3612370 Composed by Heather Hammond. This edition: pape...(+)
Saxophone
SKU:
KV.3612370
Composed
by Heather Hammond. This
edition: paperback. Super
Sax. Tutor. Book. 63
pages pages. Published by
Kevin Mayhew Publishers
(KV.3612370).
297mm x
210mm inches.
A
course for alto
saxophone, to guide the
young beginner from the
very first lesson to
around Grade 1 standard.
The step-by-step musical
and technical information
is clearly presented and
shows the pupil
everything they need to
know, including how to
hold the saxophone,
getting a good sound and
how to read music. There
are listening games,
puzzles and quizzes
which, along with the
accompanying teacher book
and great backing track
CD, create a recipe for
fun but effective
practice. This pack
contains ten student
books and one CD, which
makes it a cost-effective
option for schools and
teachers buying in
bulk.
Choral (SSA Choir) SKU: HL.381958 Composed by Francisco J. Nunez. Choral....(+)
Choral (SSA Choir)
SKU: HL.381958
Composed by Francisco J.
Nunez. Choral. Concert.
Octavo. Published by Hal
Leonard (HL.381958).
ISBN 9781705153086.
UPC: 196288020295.
6.75x10.5x0.036
inches.
Here is a
new song from Francisco
J. Nunez about young
people in a world that
allows them to be
energized, filled with
ideas, and accepting of
who they are and who they
want to be. There is a QR
code included with the
page 2 notes that takes
you and your students to
a video that shows the
fun and energetic
“hand gamesâ€
and body percussion
referenced in the musical
score--all included in
the purchase of the
octavo.