By Barry Galbraith. Published by Jamey Aebersold Jazz. (BG4DS) Play along wi...(+)
By Barry Galbraith.
Published by Jamey
Aebersold Jazz. (BG4DS)
Play along with Barry!
Contains 15 2-part
inventions that
demonstrate the rich,
melodic genius of Bach in
his most economical form.
Contains position
markings, where
applicable, to smooth out
difficult passages. The
recording has Barry
playing both parts with
total stereo separation
so you can turn off
either channel and fill
in the missing part!
Works great as a
listening CD too!
Clarinet and piano SKU: LM.26405 Composed by Thierry Masson. Mes Premiers...(+)
Clarinet and piano
SKU: LM.26405
Composed by Thierry
Masson. Mes Premiers Pas
de T. Masson et P.
Guillem. Classical.
Score. Editions Henry
Lemoine #26405. Published
by Editions Henry Lemoine
(LM.26405).
ISBN
9790230964050.
Le
Vieux manege (2 versions)
- Dans le froid - La
Tortue - Au reveil -
Lever du jour - De bonne
humeur - La Separation -
Image - Le Depart -
Berceuse - A petits pas -
Dans la cabane - Moment
de tristesse - Bleu et
vert - Le Papillon.
SKU: HL.304057 Folk Songs Set No. 16b for Violin and Piano. Compos...(+)
SKU: HL.304057
Folk Songs Set No. 16b
for Violin and Piano.
Composed by Reza Vali.
LKM Music. Softcover. 40
pages. Lauren Keiser
Music Publishing
#X511056. Published by
Lauren Keiser Music
Publishing (HL.304057).
ISBN 9781540066602.
UPC: 888680969479.
9.0x12.0x0.116
inches.
“Love
Drunk (Folk Songs, Set
No. 16B) was commissioned
by Thomas Jones and
completed in July 2014.
This is the sixteenth set
of an ongoing cycle of
Persian folk songs that
Reza Vali has been
composing since 1978. The
work's four songs (songs
without words) reflect
upon different aspects of
love. In song No. 1,
Longing, the lover is
longing for a reunion
with the beloved. Song
No. 2, In Memory of a
Lost Beloved, is a
dialogue, across the
dimensions, between the
deceased beloved and the
grieving lover. The song
reflects upon the grief
of separation--in this
case, separation by
death. The sensual and
the spiritual aspects of
love intersect in song
No. 3, The Girl from
Shiraz. The melodies of
the third song are
accompanied by quotes
from the Christmas carol
Silent Night, Wagner's
Tristan and Isolde, and
Messiaen's Quartet for
the End of Time. The
final song No. 4, Love
Drunk, describes the
intoxicating joy when the
lovers meet.”.
Incorporating The
First Noel. Composed
by Ed Kiefer. Folio. Cps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+8+1+2+
3+1+2+24 pages. Duration
4:15. Carl Fischer Music
#CPS243. Published by
Carl Fischer Music
(CF.CPS243).
ISBN
9781491158500. UPC:
680160917105. 9 x 12
inches.
This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite. When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet, nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
match articulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite.When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet,nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
matcharticulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance.
Composed
by Tomaso Giovanni
Albinoni. Edited by
Michael Talbot. Voice
(Soprano) & Basso
Continuo. Full score and
parts. Duration 7
minutes. Edition HH Music
Publishers #HH141-FSP.
Published by Edition HH
Music Publishers
(HH.HH141-FSP).
ISBN
9790708041924.
This
cantata, from an
important manuscript in
Berlin containing 18
Albinoni cantatas for
soprano and continuo, is
on the subject of the
lover's separation from
his (or it could be her)
beloved, one of the most
recurrent themes in the
Baroque cantata. An
introductory recitative
expressing the pain of
separation is followed by
an extended aria in slow
tempo that is among
Albinoni's most
accomplished and is
remarkable for its
modulations to distant
keys. After a second
recitative, which ends
with a vivid evocation of
Cupid's dart, we arrive
at the lover's second
aria, which is more
tranquil in mood than the
first, since he (or she)
now looks forward to the
expected reunion.
Composed by
William Harbinson. Fps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+6+4+2+
10+24 pages. Duration
4:15. Carl Fischer Music
#FPS162. Published by
Carl Fischer Music
(CF.FPS162).
ISBN
9781491161548. UPC:
680160920198.
Music
for a Noble Gathering
captures the pomp and
dignity of a regal
celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for a connected
and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is paramount.
The climax in m. 53
quickly subsides but
immediately rebuilds for
a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure. William
Harbinson is Professor
Emeritus and former Dean
of the Hayes School of
Music at Appalachian
State University. He has
received nine J.W. Pepper
Editors' Choice Awards
that identify the very
best of the new music
available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed worldwide.
 . Music for a
Noble Gathering captures
the pomp and dignity of a
regal celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for aÂ
connected and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is
paramount. The climax
in m. 53 quickly subsides
but immediately rebuilds
for a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure.William Harbinson
is Professor Emeritus and
former Dean of the Hayes
School of Music at
Appalachian State
University. He has
received nine J.W. Pepper
Editors’ Choice
Awards that identify the
very best of the new
music available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed
worldwide. .
Incorporating The
First Noel. Composed
by Ed Kiefer. Sws. Cps.
Full score. 24 pages.
Duration 4:15. Carl
Fischer Music #CPS243F.
Published by Carl Fischer
Music (CF.CPS243F).
ISBN 9781491158517.
UPC: 680160917112. 9 x 12
inches.
This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite. When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet, nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
match articulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite.When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet,nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
matcharticulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance.
By Various. For Trumpet. Santorella Publications is the place to shop for qualit...(+)
By Various. For Trumpet.
Santorella Publications
is the place to shop for
quality instrumental
arrangements. Our acute
sensitivity to detail,
range restrictions and
physical limitations of
the younger players as
well as our incredibly
talented composer's staff
has contributed to the
success of our titles.
Breaking into an industry
ruled by giants was a
significant task and
without your help, may
have been impossible.
But, we have you, the
teacher, student,
performer, hobbyist or
novice, to be grateful to
for assisting us in
reaching this goal. It is
now our turn to give back
to a receptive audience
that has been supportive
since the beginning. Our
gift to you is Santorella
Singles, Volume 1, a
remarkable collection of
the six titles that
provided our foundation;
Pachelbel's Canon In D /
Bach's Jesu, Joy of Man's
Desiring / Scott Joplin's
Entertainer Beethoven's
Fur Elise / Ode to Joy /
Moonlight Sonata / for
Trumpet and Piano All six
arrangements are
beautifully packaged in
an attractive "band type"
folder and if sold
separately, these
arrangements are valued
in excess of $47. We are
now offering them all, in
pure form, for just
$29.95. This is our way
of saying thank you for
making everything
possible. All
arrangements are sold
separately and although
arranged specifically for
trumpet and piano, they
are certainly suitable
for clarinet as well.
(Passionskantate). By Wolfgang Amadeus Mozart (1756-1791). Edited by Bernhard Ja...(+)
(Passionskantate). By
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Bernhard Janz. Arranged
by Mathias Siedel. For
Soli SB, SATB Choir, 2
Oboes, 2 Horns, 2
Violins, 2 Violas, Basso
continuo. This edition:
paperbound. KV 42 (35a).
Full score available
separately - see item
CA.5104200. Cantatas; Use
during church year: Holy
Week. Piano/Vocal score.
Language: German.
Composed 1767. 36 pages.
Duration 12 min.
Published by Carus Verlag
Nos. 1-6. Composed by Franz Liszt (1811-1886). Edited by Zoltan Gardonyi and Ist...(+)
Nos. 1-6. Composed by
Franz Liszt (1811-1886).
Edited by Zoltan Gardonyi
and Istvan Szelenyi.
Romantic. Separate
editions from the New
Liszt Complete Critical
Edition. Studies and
Exercises. Book Only. 68
pages. Editio Musica
Budapest #EMBZ6500.
Published by Editio
Musica Budapest
Choir; rhythm SKU: HP.C5673C Composed by Pepper Choplin. General Worship,...(+)
Choir; rhythm
SKU:
HP.C5673C
Composed by
Pepper Choplin. General
Worship, God's Love,
Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C5673C.
Published by Hope
Publishing Company
(HP.C5673C).
Original
Composition Pepper
Choplin sets the familiar
words from Paul's letter
to the Romans in this
remarkable composition
that both begins and ends
with the question, Who
shall separate us from
the love of our Lord? The
text provides comfort and
encouragement as it
reiterates the
indisputable truth that
nothing can ever separate
us from the love of God.
Choirs will enjoy the
contemporary flavor and
sing-able choral writing
in this scripturally rich
anthem. The Rhythm packet
contains parts for
Guitar, Bass and
Drums.
By Pepper Choplin. Edited by Michael Perry. Arranged by Pepper Choplin. For SATB...(+)
By Pepper Choplin. Edited
by Michael Perry.
Arranged by Pepper
Choplin. For SATB choir.
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company
2 violins and cello (viola) - easy SKU: HL.49018669 Composed by Toirdheal...(+)
2 violins and cello
(viola) - easy
SKU:
HL.49018669
Composed
by Toirdhealbhach O
Cearbhallain. Arranged by
Patrick Pfoess. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Separate
part, Viola. 12 pages.
Schott Music #ED20335-13.
Published by Schott Music
(HL.49018669).
ISBN
9790001153249.
Toda
y, Turlough O'Carolan
(1670-1738) is considered
to be the last great harp
player of Ireland and is
surrounded by an almost
mystical aura. Numerous
anecdotes have been
handed down which testify
to a strong personality,
a huge musical talent and
enormous self-confidence.
Unlike any other, he knew
how to combine old Irish
music with Italian
Baroque music, thus
creating a large number
of compositions about 200
of which have survived.
Beautiful pieces between
folk and art music. 16 of
them were selected by
Patrick Pfoss and
arranged for string trio.
A separate viola part is
also available - in case
no violoncello is
available.
SSAATTBB a cappella Choral (SSAATTBB ACA) SKU: HL.48025184 SSAATTBB a ...(+)
SSAATTBB a cappella
Choral (SSAATTBB ACA)
SKU: HL.48025184
SSAATTBB a Cappella
with Rehearsal Piano.
Composed by James
Macmillan. Boosey &
Hawkes Sacred Choral.
Classical, General
Worship, Sacred. Octavo.
8 pages. Boosey & Hawkes
#M060140310. Published by
Boosey & Hawkes
(HL.48025184).
ISBN
9781784548162. UPC:
196288113201.
7.25x10.25x0.035
inches.
Especially
commissioned by the Dean
& Chapter of
Westminster for
performance at the
funeral service of Her
Late Majesty Queen
Elizabeth II at
Westminster Abbey on
Monday 19 September 2022.
The text, from St Paul's
Letter to the Romans,
perfectly reflects the
late Queen's steadfast
Christian faith, as
demonstrated by her
unswerving devotion to
her destiny as a national
and world leader, and as
personally expressed in
her annual Christmas
broadcasts. “Who
shall separate us from
the love of Christ?
Neither death, nor life,
nor angels, nor
principalities, nor
powers, nothing present,
nor things to come, nor
height, nor depth, nor
any other creature, shall
be able to separate us
from the love of God,
whichis in Christ Jesus
our Lord. Alleluia.
Amen.†The work
expresses hope, triumph
and rejoicing; while
fitting for memorial and
remembrance services in
general. it will also be
found suitable at Easter
and for general use. As
an alternative to
“Allelulia,â€
a verse from the Book of
Revelation is provided,
for use during
penitential seasons.
“Composer Sir James
MacMillan's anthem hits
the right note ... He
joins a list of composers
of royal funeral music
stretching back to Henry
Purcell and George
Frideric Handel.â€
–The Times.
(Kyrie-Gloria-Messe (Lutherische Messe)). By Johann Sebastian Bach (1685-1750). ...(+)
(Kyrie-Gloria-Messe
(Lutherische Messe)). By
Johann Sebastian Bach
(1685-1750). Edited by
Leisinger, Ulrich.
Arranged by Paul Horn.
For Soli SATB, SATB
Choir, 2 Oboes, 2
Violins, Viola, Basso
continuo. This edition:
paperbound. BWV 236. Full
score available
separately - see item
CA.3123600. Masses,
Latin, Incomplete Masses
(also Kyrie and Gloria);
Stuttgart Urtext
editions. Level 3.
Piano/Vocal score.
Language: Latin. Composed
1742 (terminus ante
quem). 52 pages. Duration
30 min
Missa in Jazz Chorale SATB SATB, Orgue [Conducteur] Carus Verlag
By Peter Schindler. For SATB Choir, Organ, Saxophone, Percussion. This edition: ...(+)
By Peter Schindler. For
SATB Choir, Organ,
Saxophone, Percussion.
This edition: paperbound.
Full score available
separately - see item
CA.2702800. Masses,
Latin. Choral score.
Language: Latin. Composed
2001. 48 pages
Composed by John Philip Sousa (1854-1932). Arranged by Keith Brion and Loras Sch...(+)
Composed by John Philip
Sousa (1854-1932).
Arranged by Keith Brion
and Loras Schissel.
Concert Band. Sousa
Centennial. Audio
recording available
separately (items
CL.WFR137 and CL.WFR184).
Sacred, Classical. Score
and set of parts.
Composed 1995. Duration 8
minutes, 40 seconds.
Published by Willow
Blossom Music
Weihnachtskantate. By Felix Mendelssohn. Edited by Lehmann, Karen. For Soli SBar...(+)
Weihnachtskantate. By
Felix Mendelssohn. Edited
by Lehmann, Karen. For
Soli SBar, SSATB Choir, 2
Flutes, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Trumpets,
Timpani, 2 Violins, 2
Violas, 2 Cellos,
Contrabass. Full score
available separately -
see item CA.4018900.
Cantatas; Stuttgart
Urtext editions; Use
during church year:
Christmas. Study score.
Language: German/English.
Composed 1831. 72 pages.
Duration 16 min.
Published by Carus Verlag
(German import).
Violin and basso continuo SKU: HL.49044547 The Finest Baroque Sonatas<...(+)
Violin and basso continuo
SKU: HL.49044547
The Finest Baroque
Sonatas. Edited by
Peter Mohrs. This
edition: Saddle
stitching. Sheet music.
String. Softcover. 36
pages. Schott Music
#ED21925-01. Published by
Schott Music
(HL.49044547).
ISBN
9783795749422. UPC:
841886023338.
9.0x12.0x0.106
inches.
Separate
bass part for performance
e.g. with cello
accompaniment.Schott
Violin Library includes
eleven contrasting
Baroque sonatas for
violin and continuo bass.
Besides popular and
well-known sonatas by
Corelli, Vivaldi, Handel
and Telemann there are
also delightful less
familiar compositions by
Dall'Abaco, Pepusch and
Finger, among others. All
these pieces are at lower
to intermediate level.
Some of them can be
played in first position
throughout, while others
require just a few
position changes, but the
sonatas by Dall'Abaco,
Kirchhoff, Vivaldi and
Handel require fluent use
of the first three
positions. The pieces
brought together in this
book are the best-loved
works from the popular
series Schott Violin
Library (VLB) and other
violin repertoire
published by Schott.
The Book of Urizen is Jacob de Haan his first Symphony for concert band, ...(+)
The Book of Urizen
is Jacob de Haan his
first Symphony for
concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP 1125252
Voice (female choir, men's choir, mixed choir), strings and other instruments ad...(+)
Voice (female choir,
men's choir, mixed
choir), strings and other
instruments ad libitum
SKU: HL.49019748
(In Praise of
Music). Composed by
Paul Hindemith. Edited by
Luitgard Schader. Sheet
music. Choral. Separate
part, Song Sheet for Full
Chorus. Composed 1943. 1
pages. Schott Music
#ED20447-15. Published by
Schott Music
(HL.49019748).
ISBN
9790001169264.
9.0x12.0x0.005 inches.
English -
German.
We owe it
to Paul Hindemith's
interest in education,
which, in turn, was owed
not only to the
professional musicians
and composers, that he
composed for children and
amateur musicians as
well. Dame Music stands
for this dialogue to make
contemporary music for
amateurs accessible not
only in theory but also
in practice. Dame Music
was composed during his
stay in the USA after he
had been asked for an
American edition of his
composition Frau Musica.
Musik zum Singen und
Spielen auf Instrumenten
nach einem Text von
Luther, Op. 45 No. 1 from
1928. In 1942 he wrote
the successful American
version Dame Music for
which Hindemith also
revised some instrumental
parts. The vocal setting
was adopted without any
changes and its text
translated into English.
With great success:
Within just a few years,
Dame Music had been
included in the
repertoire of amateur
musicians in the United
States.
El Capitan Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Willow Blossom Music
March. Composed by John Philip Sousa (1854-1932). Arranged by Keith Brion and Lo...(+)
March. Composed by John
Philip Sousa (1854-1932).
Arranged by Keith Brion
and Loras Schissel.
Concert Band. Sousa
Centennial. Audio
recording available
separately (item
CL.WFR137). March. Score
and set of parts.
Composed 1999. Duration 2
minutes, 17 seconds.
Published by Willow
Blossom Music
2 Violons (duo) [Set de Parties séparées] - Intermédiaire Kalmus
Composed by Franz Joseph Haydn (1732-1809). Edited by Marty Winkler. Duet or Duo...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Marty Winkler. Duet or
Duo; Masterworks; Solo
Small Ensembles; String -
2 Violins. Kalmus
Edition. Classical
Period. Set of
performance parts
(includes separate
pull-out violin parts).
58 pages. Kalmus Classic
Edition #00-K02087.
Published by Kalmus
Classic Edition
Die Tageszeiten Soli, choeur mixte et accompagnement [Conducteur] - Intermédiaire Carus Verlag
By Georg Philipp Telemann (1681-1767). Edited by Reipsch, Brit. For SATB Soli, S...(+)
By Georg Philipp Telemann
(1681-1767). Edited by
Reipsch, Brit. For SATB
Soli, SATB Choir, 2
Flute, 2 Oboe, Bassoon, 2
Violin, Viola, Viola da
gamba, Basso Continuo.
This edition: paperbound.
TVWV 20:39. Full score
available separately -
see item CA.3913700.
Cantatas. Level 3.
Piano/Vocal score.
Language: German. 52
pages. Duration 55 min