Orchestra SKU: HL.48020791 For Orchestra Full Score. Composed by M...(+)
Orchestra
SKU:
HL.48020791
For
Orchestra Full Score.
Composed by Michael
Daugherty. Boosey &
Hawkes Scores/Books.
Classical. 146 pages.
Boosey & Hawkes
#M051801992. Published by
Boosey & Hawkes
(HL.48020791).
ISBN
9781423491194. UPC:
884088475352. 9x12
inches.
(2004) <
br>Tell My Fortune
is a concerto for
orchestra that visits the
dark world of gypsies and
their methods of fortune
telling. In Palm,
the composer reads the
lines, marks and patterns
of a hand as though it
were a musical staff.
Peering into a crystal
ball, Crystal
features flute and alto
flute in a haunting duet,
with strings playing a
rhythmic counterpoint and
a percussion
accompaniment of tuned
crystal glasses and wind
chimes. Card
unfolds like a deck of
tarot cards, shuffled and
spread across a table.
Duration - ca. 28:00.
Piano seul [Partition] - Intermédiaire Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All
Composed by Michael
Masser, Linda Creed
Homecoming Composed by
Hagood Hardy
Weve Got Tonight Composed
by Bob Seger
Song From M*a*s*h
(Suicide Is Painless)
Composed by Johnny
Mandel, Mike Altman
Misty Composed by Erroll
Garner, Johnny Burke
Other Side Of Midnight
Composed by Michel
Legrand
The Rose Composed by
Amanda Mc Broom
Tears In Heaven Composed
by Eric Clapton, Will
Jennings
Theme From New York, New
York Composed by Fred
Ebb, John Kander
Heart Composed by Richard
Adler, Jerry Ross
Hey There Composed by
Richard Adler, Jerry Ross
Colors Of My Life
Composed by Cy Coleman,
Michael Stewart
Over The Rainbow Composed
by Harold Arlen, E.y.
Harburg
Separate Lives Love Theme
From "white Nights"
Theme From Ice Castles
Composed by Marvin
Hamlisch, Carole Bayer
Sager
Tonight I Celebrate My
Love Composed by Michael
Masser, Gerry Goffin
In This Life Composed by
Mike Reid, Allen Shamblin
Up Where We Belong
Composed by W Jennings, B
Sainte, Marie, J Nitzsche
From A Distance Composed
by Julie Gold
I Will Always Love You
Composed by Dolly Parton
Oh! What It Seemed To Be
Composed by Bennie
Benjamin, George David
Weiss, Frankie
I Believe I Can Fly
Composed by R. Kelly
Valentine Composed by Jim
Brickman, Jack Kugell
How Do I Live Composed by
Diane Warren
Colors Of The Wind
Composed by Stephen
Schwartz, Alan Menken
A Dream Is A Wish Your
Heart Makes Composed by
Mack David, Al Hoffman,
Jerry Livingston
see less... Tell Him
Composed by Linda
Thompson, David Foster
Con Te Patiro / Time To
Say Goodbye Composed by
Lucio Quarantotto,
Francesco Sartori
Karen's Theme Composed by
Richard Carpenter
The Prayer Composed by
Carole Bayer Sager, David
"babyface" Foster
My One True Friend
Composed by Carole Bayer
Sager, Carole King
Love Solo Composed by Dan
Coates
I Don't Want To Miss A
Thing Composed by Diane
Warren
As Time Goes By Composed
by Herman Hupfeld
La Vie En Rose Composed
by Louiguy, Piaf
(French), David (Eng.)
What's New? Composed by
Bob Haggart, Johnny Burke
Summer Me, Winter Me
Composed by Michel
Legrand, Alan, Marilyn
Bergman
Evergreen Composed by
Barbra Streisand, Paul
Williams
Arthur's Theme (Best That
You Can Do) Composed by
Burt Bacharach, Carole
Bayer Sager
Can You Read My Mind
Composed by John
Williams, Leslie Bricusse
Love And Marriage
Composed by Jimmy Van
Heusen, Sammy Cahn
Desperado Composed by Don
Henley, Glenn Frey
The Wind Beneath My Wings
Composed by Jeff Silbar,
Larry Henley
How Do You Keep The Music
Playing? Composed by
Michel Legrand, Alan
Bergman
Anywhere The Heart Goes
Composed by Henry
Mancini, Will Jennings
Once Before I Go Composed
by Dean Pitchford, Peter
Allen
Star Wars - Main Theme
Composed by John Williams
Open Arms Composed by
Steve Perry, Jonathan
Cain
Canon In D Composed by
Johann Pachelbel
That's What Friends Are
For Composed by Burt
Bacharach, Carole Bayer
Sager
Friends Or Lovers Both To
Each Composed by Paul
Gordon, Jay Gruska
Forever Composed by Kenny
Loggins, Eva Loggins,
David Foster
Saving All My Love For
You Composed by Gerry
Goffin, Michael Masser
Miss Celie's Blues
Composed by Quincy Jones,
Rod Temperton, And
Anne's Theme Composed by
Hagood Hardy
One Moment In Time
Composed by Albert
Hammond, John Bettis
Kei's Song Composed by
David Benoit
I Say A Little Prayer
Composed by Burt
Bacharach, Hal David
Happy Birthday To You
Composed by Mildred J.
Hill, Patty S. Hill
May You Always Composed
by Larry Marks, Dick
Charles
If My Friends Could See
Me Now Composed by Cy
Coleman, Dorothy Fields
You Can Always Count On
Me Composed by Cy
Coleman, David Zippel
Ashokan Farewell Composed
by Jay Ungar
Everything I Do I Do It
For You Composed by Bryan
Adams, Robert Lange,
Michael Kamen
Send In The Clowns
Composed by Stephen
Sondheim
She Loves Me Composed by
Sheldon Harnick, Jerry
Bock
How Could I Ever Know?
Composed by Marsha
Norman, Lucy Simon
My Unknown Someone
Composed by Cy Coleman,
Adolph Green, Betty
Comden
Favorite Son Composed by
Cy Coleman, Adolph Green,
Betty Comden
I Swear Composed by Gary
Baker, Frank Myers
I Can Love You Like That
Composed by S Diamond, M
Derry, J Kimball
Beauty And The Beast
Composed by Howard
Ashman, Alan Menken
Angel Eyes Composed by
Jim Brickman
If You Believe Composed
by Jim Brickman
Because You Loved Me
Composed by Diane Warren
Un-break My Heart
Composed by Diane Warren
Ragtime Composed by
Stephen Flaherty, Lynn
Ahrens
Complete Advanced Piano
Solos (Music for All
Occasions). Arranged by
Dan Coates. For solo
piano. Piano -
Intermediate / Advanced
Collection; Piano
Supplemental. The
Professional Touch
Series. Contemporary
Instrumental and Pop. SMP
Level 9 (Advanced).
Collection. Standard
notation (does not
include words to the
songs). 304 pages.
Published by Alfred Music
Publishing
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello
SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410).
UPC:
680160687015.
In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch.
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello
SKU:
PR.11442041L
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Large Score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041L.
Published by Theodore
Presser Company
(PR.11442041L).
UPC:
680160687039.
In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch.
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello
SKU:
PR.11442041S
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Full score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041S.
Published by Theodore
Presser Company
(PR.11442041S).
UPC:
680160687022.
In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch.
Voice and guitar SKU: M7.DUX-55 Kultliederbuch. Edited by Andreas ...(+)
Voice and guitar
SKU:
M7.DUX-55
Kultliederbuch.
Edited by Andreas Lutz
and Bernhard Bitzel. This
edition: Ring/Spiral
binding. Sheet music. 236
pages. Edition Dux Verlag
#DUX 55. Published by
Edition Dux Verlag
(M7.DUX-55).
ISBN
9783868492996.
Eine
einzigartige Auswahl von
über 200 deutschen und
internationalen Liedern &
Songs. Die
Zusammenstellung
beinhaltet sowohl die
traditionellen
'Klassiker' als auch
Traditionals und Hits aus
den Bereichen Pop und
Rock. Wie gewohnt in zwei
Varianten: Entweder als
Liederbuch mit Texten und
Harmonien oder
zusätzlich mit
Noten.
Voice and guitar SKU: M7.DUX-5555 Kultliederbuch. Edited by Andrea...(+)
Voice and guitar
SKU:
M7.DUX-5555
Kultliederbuch.
Edited by Andreas Lutz
and Bernhard Bitzel. This
edition: Ring/Spiral
binding. Sheet music.
Ausgabe mit Noten. 238
pages. Edition Dux Verlag
#DUX 5555. Published by
Edition Dux Verlag
(M7.DUX-5555).
ISBN
9783868493009.
Eine
einzigartige Auswahl von
über 200 deutschen und
internationalen Liedern &
Songs. Die
Zusammenstellung
beinhaltet sowohl die
traditionellen
'Klassiker' als auch
Traditionals und Hits aus
den Bereichen Pop und
Rock. Wie gewohnt in zwei
Varianten: Entweder als
Liederbuch mit Texten und
Harmonien oder
zusätzlich mit
Noten.
Composed by Traditional.
Ensemble Book. Kendor
Ensemble Series.
Christmas. Partbook.
Kendor Music Inc #19570.
Published by Kendor Music
Inc (KN.19570).
UPC:
822795195705.
Prese
nting a variety of
beloved Christmas songs
for an array of
programming options, the
settings in this
collection merge the
traditional eloquence of
the season with fresh
harmonic concepts. This
makes the music as
interesting to performers
as it is to listeners.
Parts may be doubled if a
larger brass choir is
desired.
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
(TB) SKU: HL.49021450 22 Szenen und ein Zwischengesang. Composed b...(+)
(TB)
SKU:
HL.49021450
22
Szenen und ein
Zwischengesang.
Composed by Hiller. This
edition: Saddle
stitching. Book. Edition
Schott. Text
book/libretto. 52 pages.
Schott Music #BN 3384.
Published by Schott Music
(HL.49021450).
ISBN
9783795733841.
German.
Dieses
Libretto lehnt sich
engstmoglich an Theodor
Storms Novelle vom
Schimmelreiter an.Der
originale Wortlaut des
Stormschen Textes wurde
weitestgehend, wo irgend
moglich, beibehalten;
auch altere, regional
gebundene Ausdrucke sind
unverandert ubernommen
worden.Die
eingearbeiteten Gedichte
sind - mit einer Ausnahme
- gleichfalls von Theodor
Storm; lediglich Nebel,
stiller Nebel (20. Szene:
Der Tod der Trin Jans)
stammt von Christian
Morgenstern, wurde aber
wegen der atmospharischen
Stimmigkeit hier
verwendet.Wenn die
individuelle Zeichnung
einzelner Charaktere (Ole
Peters und Trin Jans)
nicht ganz mit der von
Theodor Storms
vorgegebenen
ubereinstimmt, sodeshalb,
weil in diesem
Zusammenhang eine
scharfere Konturierung
und Akzentuierung
vonnoten war.Das Stuck
gliedert sich
folgendermassen:I. Teil:
1. Szene: Der Fluch - 13.
Szene: Nachfolgefragen
Zwischengesang: Sieben
JahreII. Teil: 14. Szene:
Plane - Letzte Szene: Das
EndeEs ist fur pausenlose
Auffuhrung konzepiert.
Falls doch eine Pause
gemacht werden sollte, so
ist sie an das Ende des
I. Teils und vor den
Zwischengesang: Sieben
Jahre zu legen.
Easy SKU: WD.080689607172 Good News of the Savior's Birth!. Compos...(+)
Easy
SKU:
WD.080689607172
Good News of the
Savior's Birth!.
Composed by Lee Black.
Choral, cantatas.
Christmas. Book. Word
Music #080689607172.
Published by Word Music
(WD.080689607172).
UPC:
080689607172.
WATCH
FOR A MESSAGE FROM
ARRANGER MARTY
HAMBY
COME AND
SEE, GO AND
TELL,from
Word Music &
Church Resources’
Simply
Word
Series, is
an SATB musical with
rich, full orchestrations
and accessible vocal
charts (challenging
enough to be musically
satisfying, yet easy
enough to be
appreciated!), designed
to make your choir sound
bigger than life without
having to learn and sing
overly difficult
part-writing.
From the opening
strains of
“Rejoice”
(the song popularized by
Aaron Shust) and original
songs by Lee
Black and Jason
Cox, arranged and
orchestrated by Marty
Hamby, COME
AND SEE, GO AND
TELL warmly and
richly unveils the story
of Christmas as it leads
the listener to an
invitation: an invitation
to come and see…to
come and behold...to come
and know; know that this
is your King, born to
bring light and salvation
to a people lost in
darkness. And as the
invitation turns into the
revelation that this
truly is Christ the King,
we have no recourse but
to bow and worship Him.
And once we have
seen, once we have
worshipped Him at the
manger, we can do nothing
else but go and tell the
Good News: the Savior is
born!
Divas (PVG) Piano, Voix et Guitare Really Useful Group
Piano, Vocal and Guitar SKU: BT.MUSRUG37499 Composed by Andrew Lloyd Webb...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSRUG37499
Composed by Andrew Lloyd
Webber.
TV-Film-Musical-Show.
Book Only. 96 pages.
Really Useful Group
#MUSRUG37499. Published
by Really Useful Group
(BT.MUSRUG37499).
ISBN
9781846098437.
For
the first time ever, a
unique collection of
timeless classics - old
and new - recorded by
true divas from the
musicals of Andrew Lloyd
Webber. This incredible
collection includes
Don't Cry For Me
Argentina, Memory, I
Don't Know How To Love
Him, The Music Of The
Night and many more.
All songs are specially
arranged for Piano,
Voice, and Guitar.
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Chris Tedesco
will walk you through all
23 lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Trumpet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Chris
Tedesco Chris Tedesco has
distinguished himself as
a soloist, chamber
artist, orchestral and
commercial trumpeter in
Los Angeles for over 20
years. His early
classical training
included studies with
Chuck Lirette of the
Buffalo Philharmonic and
college training with
Gilbert Johnson, (former
principal trumpet of the
Philadelphia
Philharmonic) at the
University of Miami in
Florida. Chris Tedesco's
road travels included
concert tours with the
Glenn Miller Band, Tommy
Dorsey Orchestra, but it
was Cruise Ships that
brought him to Los
Angeles in 1987. Chris
Tedesco can be heard on
the movie soundtracks of
Finding Nemo, Road to
Perdition, Boat Trip, The
Mexican, Best in Show,
Ring of Fire, After the
Storm, Durango Kids,
Winchell, Absolute Power,
Star Trek - First
Contact, Nixon,
Stonebrook, Heaven and
Earth, Cool World and
Lorenzoes Oil. On the
small screen you can hear
his solo Trumpet on the
theme to the hit TV show
"The District" along with
many national TV
commercials. Chris
Tedesco has recorded with
Joe Cocker, Natalie
Merchant, Ellis Hall,
Royal Crown Revue, Pat
Boone, Cher, Brian
Setzer, Dwight Yoakum,
Juan Carlos Quintero,
Thom Rotella, Jump with
Joey, Leslie Paula, Boom
Shaka and for The Disney
Afternoon. For more
information about Chris
Tedesco visit:
www.christedesco.com.
Ave Maria Piano Solo, Composed by Johann Sebastian Bach, Charles Francois Gounod...(+)
Ave Maria Piano Solo,
Composed by Johann
Sebastian Bach, Charles
Francois Gounod
Abide With Me Vocal And
Piano
Be Still, My Soul Vocal
And Piano
Day By Day Vocal And
Piano
God Will Take Care Of You
Vocal And Piano
He Leadeth Me Vocal And
Piano
His Eyes Is On The
Sparrow Vocal And Piano
I Must Tell Jesus Vocal
And Piano
I Need Thee Every Hour
Vocal And Piano
In The Garden Vocal And
Piano
A Mighty Fortress Is Our
God Vocal And Piano
Moment By Moment Vocal
And Piano
Savior, Like A Shepherd
Lead Us Vocal And Piano
Thou Will Keep, Him In
Perfect Peace Vocal And
Piano
'tis So Sweet To Trust In
Jesus Vocal And Piano
What A Friend We Have In
Jesus Vocal And Piano
Music for Solemn Moments
arranged by Jerry Ray.
For voice and piano.
Piano Collection; Piano
Supplemental. Sacred.
Late Intermediate.
Songbook. Vocal melody,
lyrics, piano
accompaniment and chord
names. 44 pages.
Published by Alfred Music
Publishing
Piano; Piano/Keyboard SKU: HL.194659 Composed by Various. Super Easy Song...(+)
Piano; Piano/Keyboard
SKU: HL.194659
Composed by Various.
Super Easy Songbook.
Christian, General
Worship, Hymns.
Softcover. Published by
Hal Leonard (HL.194659).
ISBN 9781495073892.
UPC: 888680641757.
9.0x12.0x0.262
inches.
It's super
easy! This series
features accessible
arrangements for piano,
with simple right-hand
melody, letter names
inside each note, basic
left-hand chord diagrams,
and no page turns. This
edition includes 60
hymns: All Creatures of
Our God and King •
Amazing Grace • Be
Thou My Vision •
Beautiful Savior •
The Church's One
Foundation • Crown
Him with Many Crowns
• For the Beauty of
the Earth • I Love
to Tell the Story •
It Is Well with My Soul
• Just As I Am
• A Mighty Fortress
Is Our God •
Nearer, My God, to Thee
• O Worship the
King • Rock of Ages
• 'Tis So Sweet to
Trust in Jesus • We
Gather Together •
What a Friend We Have in
Jesus • When I
Survey the Wondrous Cross
• and many
more.
Trombone ensemble 4-part - advanced SKU: CY.CC2920 Composed by Johann Seb...(+)
Trombone ensemble 4-part
- advanced
SKU:
CY.CC2920
Composed by
Johann Sebastian Bach.
Arranged by John
Marcellus. Baroque. Score
and parts. Published by
Cherry Classics
(CY.CC2920).
Capriccio in
B-flat, BWV 992 is an
early keyboard work,
first performed at age 19
when his brother Johann
Jacob travelled to become
an oboist in the army of
Charles XII of Sweden.
The 12-minute work for
4-part Trombone ensemble
is appropriate for
advanced performers. Dr.
Marcellus has dedicated
his arrangement to the
memory of the late Steve
Witser, his former
student and colleague who
was Principal Trombonist
with the Los Angeles
Philharmonic. The work is
separated into six
sections titled: 1.
Arioso: Adagio - His
friends try to persuade
him not to undertake the
journey 2. Andante -
His friends tell him of
the various misfortunes
that may befall him
abroad 3.
Adagiosissimo - The
general lament of his
friends 4. Andante
con moto - His friends
come, since they see that
it must be, and take
leave of him 5.
Posthorn Aria 6.
Fugue in Imitation of the
Posthorn.
Hindu Song Trio à cordes [Conducteur et Parties séparées] - Intermédiaire/avancé Schott
(String Trio). By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by F...(+)
(String Trio). By Nikolay
Andreyevich
Rimsky-Korsakov
(1844-1908). Arranged by
Fredo Jung and
Gaede-Trio. For String
Trio (Score and Parts).
Schott. Book only. Schott
Music #ED21011. Published
by Schott Music