Piano; Voice (Soprano) SKU: HL.48009794 Voice and Piano. Composed ...(+)
Piano; Voice (Soprano)
SKU: HL.48009794
Voice and Piano.
Composed by Georg
Frederick Handel. Edited
by Ford/Erlebach. Boosey
& Hawkes Voice. Baroque,
Classical, Collection.
Book only. 106 pages.
Boosey & Hawkes
#M060031861. Published by
Boosey & Hawkes
(HL.48009794).
UPC:
073999175349.
8.5x11.5x0.427
inches.
Contents:
As cheers the sun * And
shall my sin-stain'd soul
* Author of Peace * Ah!
Think what ills * Alas!
Erastea * Banish love
from thy breast * Beneath
the Vine * Bless'd the
day * Capricious man *
Daughter of Gods *
Endless pleasure, endless
love * Faithful cares in
vain extended * Guardian
Angels * Hide me from
day's garish eye * My
heart with tender pity
swells * Me, when the sun
begins to shine * No more
shall armed bands * No,
no, I'll take no less *
Oft on a plat of rising
ground * O killing shock
of unexpected pain * O
lovely youth * Sinners,
lifts your eyes and
tremble * Straight mine
eye hath caught new
pleasures * Together
lovely innocents.
Unaccompanied Flute SKU: HL.14040683 Flute Solo. Composed by Claud...(+)
Unaccompanied Flute
SKU: HL.14040683
Flute Solo.
Composed by Claude
Ballif. Arranged by
Pierre-Yves Artaud. Music
Sales America. Classical.
Softcover. Editions
Musicales
Transatlantiques
#ETR001435. Published by
Editions Musicales
Transatlantiques
(HL.14040683).
Chamber Music Piano, Violin, soprano SKU: PR.111402660 Composed by Samuel...(+)
Chamber Music Piano,
Violin, soprano
SKU:
PR.111402660
Composed
by Samuel Adler. Set of
Score and Parts. With
Standard notation.
Composed 16-Aug. 20+20+8
pages. Duration 11
minutes. Theodore Presser
Company #111-40266.
Published by Theodore
Presser Company
(PR.111402660).
Adler considers the poems
of a young Selma
Meerbaum-Eisinger, who
would become a victim of
the Holocaust at the age
of only 18. Her poems
express an optimistic
view of humanity and
nature, despite the world
in which she lived. Songs
of Innocent Love will be
performed by its
dedicatee, Sabine Goetz,
soprano, as part of a
celebration of Adler's
90th birthday at
Konzerthaus Berlin, June,
2018.
By James Biery. For Unison or 2-part treble choir, Keyboard, optional C instrume...(+)
By James Biery. For
Unison or 2-part treble
choir, Keyboard, optional
C instrument. Innocent
Sounds. Level:
Medium-Easy. Published by
MorningStar Music
Publishers.
Innocent Sounds Chorale 3 parties SSA, Piano - Intermédiaire MorningStar Music Publishers
SSA choir, keyboard (organ or piano) - Late Intermediate to Advanced SKU: MN....(+)
SSA choir, keyboard
(organ or piano) - Late
Intermediate to Advanced
SKU: MN.50-9916
Composed by Jeremiah
Ingalls and Marie Stultz.
Arranged by Jeremiah
Ingalls. Innocent Sounds
Series. 21st Century.
Octavo. MorningStar Music
Publishers #50-9916.
Published by MorningStar
Music Publishers
(MN.50-9916).
UPC:
688670599163.
Setti
ng of early American text
and tune from The
Christian Harmony, 1805.
Accompaniment and
part-writing are
indicative of Ingalls'
rustic harmonies and
musical style.
Choral SSAA choir SKU: CF.CM9616 Composed by John Ratledge. Fold. Jbc. Pe...(+)
Choral SSAA choir
SKU:
CF.CM9616
Composed by
John Ratledge. Fold. Jbc.
Performance. 12 pages.
Duration 4 minutes, 2
seconds. Carl Fischer
Music #CM9616. Published
by Carl Fischer Music
(CF.CM9616).
ISBN
9781491156711. UPC:
680160915255. 6.875 x
10.5 inches. Key: C
major. English. Thomas
Troeger.
This SSAA
work, originally written
for SATB voices
celebrates the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. The
inspirational text is
Somewhere I Have Never
Traveled, a text by the
Yale Theologian, Thomas
Troeger. Somewhere I Have
Never Traveled has
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence. It has been
a joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend's villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing it.
Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike innocence.
Somewhere I have never
traveled is the place I
want to be... (Me
too.). It has been a
joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend’s villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing
it.Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence.Somewhere I
have never traveled is
the place I want to be...
(Me too.).
Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037.
On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. .
Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F).
ISBN
9781491161838. UPC:
680160920518.
On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
Roll of Honour Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125214-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125214-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Score Only.
Composed 2012. 40 pages.
De Haske Publications
#DHP 1125214-120.
Published by De Haske
Publications
(BT.DHP-1125214-120).
9x12 inches.
English-German-French-Dut
ch.
On a war
memorial in the Dutch
village of Wons is
engraved a list of names
to honour the fallen in
World War II. This is the
basis for the name of
this piece. However, this
composition was written
for everyone who has made
Wons what it is today: a
pretty place near to Lake
IJssel with a
comfortable way of life.
The piece begins with a
celebratory introduction
in which the village is
presented to the
listener. There follows a
delightful rhythmic and
high-tempo theme that
reflects the happiness,
innocence and carefree
atmosphere before the
war. Now we hear a moody,
fragmented theme
depicting soldiers
shooting. This is brought
to a close with dissonant
clusters of
sound,intoning the
dreadful tragedy of the
war. The ensuing quiet
gives way to a calm
middle section in a minor
key that portrays both
frustration and
consolation. The fast
tempo of the beginning
returns, this time in the
form of a victory march.
We hear freedom being
celebrated. We hear the
previous happy, innocent
and carefree themes, too.
There follows a festive,
martial theme, a tribute
to the village, before
the piece closes with
sounds of celebration.
Op de gedenksteen
in het Friese dorp Wons
staat een erelijst (roll
of honour) gegraveerd ter
nagedachtenis aan de
gevallenen van de Tweede
Wereldoorlog. De titel
van dit werk verwijst
naar deze lijst. Deze
compositie is echter
tevens geschreven voor
alle mensen die Wons
hebben gemaakt tot wat
het nu is: een prachtig
dorpje vlak bij het
IJsselmeer waar het
prettig toeven is. De
compositie begint met een
statige inleiding, waarin
het dorp zich presenteert
aan de luisteraar. Dan
klinkt een aansprekend
ritmisch thema in een
snel tempo dat de
vrolijkheid,
onbevangenheid en
onbezorgdheid van voor de
oorlog uitstraalt. Dit
gaat over in een melodie
in mineur, die het
naderendeoorlogsgevaar
aankondigt. Dan is er een
grillig thema met stops
waarin het schieten van
de soldaten te horen is.
Dit eindigt in enkele
dissonante clusters die
het tragische dieptepunt
van de oorlog
accentueren. De
daaropvolgende stilte
lost op in een gedragen
middendeel in mineur
waaruit enerzijds
verdriet en anderzijds
troost spreekt. Dan komt
het snelle tempo van het
begin weer terug, ditmaal
in de vorm van een
vreugdemars. De vrijheid
wordt gevierd. Ook het
thema van de vrolijkheid,
onbevangenheid en
onbezorgdheid is weer te
horen. Er volgt nu een
statig martiaal thema,
een eerbetoon aan het
dorp, waarna het werk
wordt afgesloten met
feestelijke klanken.
Auf einem
Gedenkstein im
niederländischen Dorf
Wons ist eine Namensliste
zu Ehren der Gefallenen
im Zweiten Weltkrieg
eingraviert. Auf diese
bezieht sich der Titel
des Werkes, der
wörtlich übersetzt
‘Ehrenliste’
bedeutet. Diese
Komposition wurde jedoch
für alle Menschen
geschrieben, die Wons zu
dem gemacht haben, was es
heute ist: ein schöner
Ort nahe des
IJsselmeeres, in dem es
sich gut leben lässt.
Das Werk beginnt mit
einer feierlichen
Einleitung, in welcher
sich das Dorf dem
Zuhörer
präsentiert. Dann
erklingt ein reizvolles
rhythmisches und
temporeiches Thema, das
die Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit vor dem
Krieg ausstrahlt. Dieses
geht in eine
Moll-Melodieüber,
welche von der nahenden
Kriegsgefahr kündet.
Dann erklingt ein
launenhaftes Thema mit
Unterbrechungen, in dem
das Schießen der
Soldaten zu hören ist.
Dieses endet in einigen
dissonanten Clustern, die
den tragischen Tiefpunkt
des Krieges betonen. Die
darauffolgende Stille
löst sich in einen
ruhigen Mittelteil in
Moll auf, aus dem
einerseits Verdruss und
andererseits Trost
spricht. Dann kehrt das
schnelle Tempo des
Anfangs zurück, dieses
Mal in der Form eines
Freudenmarsches. Die
Freiheit wird gefeiert.
Auch das Thema der
Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit ist wieder
zu hören. Nun folgt
ein feierliches,
martialisches Thema, eine
Ehrerbietung an das Dorf,
bevor das Werk mit
festlichen Klängen
endet.
Roll of Honour Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125214-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125214-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125214-020. Published by
De Haske Publications
(BT.DHP-1125214-020).
9x12 inches.
English-German-French-Dut
ch.
On a war
memorial in the Dutch
village of Wons is
engraved a list of names
to honour the fallen in
World War II. This is the
basis for the name of
this piece. However, this
composition was written
for everyone who has made
Wons what it is today: a
pretty place near to Lake
IJssel with a
comfortable way of life.
The piece begins with a
celebratory introduction
in which the village is
presented to the
listener. There follows a
delightful rhythmic and
high-tempo theme that
reflects the happiness,
innocence and carefree
atmosphere before the
war. Now we hear a moody,
fragmented theme
depicting soldiers
shooting. This is brought
to a close with dissonant
clusters of
sound,intoning the
dreadful tragedy of the
war. The ensuing quiet
gives way to a calm
middle section in a minor
key that portrays both
frustration and
consolation. The fast
tempo of the beginning
returns, this time in the
form of a victory march.
We hear freedom being
celebrated. We hear the
previous happy, innocent
and carefree themes, too.
There follows a festive,
martial theme, a tribute
to the village, before
the piece closes with
sounds of celebration.
Op de gedenksteen
in het Friese dorp Wons
staat een erelijst (roll
of honour) gegraveerd ter
nagedachtenis aan de
gevallenen van de Tweede
Wereldoorlog. De titel
van dit werk verwijst
naar deze lijst. Deze
compositie is echter
tevens geschreven voor
alle mensen die Wons
hebben gemaakt tot wat
het nu is: een prachtig
dorpje vlak bij het
IJsselmeer waar het
prettig toeven is. De
compositie begint met een
statige inleiding, waarin
het dorp zich presenteert
aan de luisteraar. Dan
klinkt een aansprekend
ritmisch thema in een
snel tempo dat de
vrolijkheid,
onbevangenheid en
onbezorgdheid van voor de
oorlog uitstraalt. Dit
gaat over in een melodie
in mineur, die het
naderendeoorlogsgevaar
aankondigt. Dan is er een
grillig thema met stops
waarin het schieten van
de soldaten te horen is.
Dit eindigt in enkele
dissonante clusters die
het tragische dieptepunt
van de oorlog
accentueren. De
daaropvolgende stilte
lost op in een gedragen
middendeel in mineur
waaruit enerzijds
verdriet en anderzijds
troost spreekt. Dan komt
het snelle tempo van het
begin weer terug, ditmaal
in de vorm van een
vreugdemars. De vrijheid
wordt gevierd. Ook het
thema van de vrolijkheid,
onbevangenheid en
onbezorgdheid is weer te
horen. Er volgt nu een
statig martiaal thema,
een eerbetoon aan het
dorp, waarna het werk
wordt afgesloten met
feestelijke klanken.
Auf einem
Gedenkstein im
niederländischen Dorf
Wons ist eine Namensliste
zu Ehren der Gefallenen
im Zweiten Weltkrieg
eingraviert. Auf diese
bezieht sich der Titel
des Werkes, der
wörtlich übersetzt
‘Ehrenliste’
bedeutet. Diese
Komposition wurde jedoch
für alle Menschen
geschrieben, die Wons zu
dem gemacht haben, was es
heute ist: ein schöner
Ort nahe des
IJsselmeeres, in dem es
sich gut leben lässt.
Das Werk beginnt mit
einer feierlichen
Einleitung, in welcher
sich das Dorf dem
Zuhörer
präsentiert. Dann
erklingt ein reizvolles
rhythmisches und
temporeiches Thema, das
die Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit vor dem
Krieg ausstrahlt. Dieses
geht in eine
Moll-Melodieüber,
welche von der nahenden
Kriegsgefahr kündet.
Dann erklingt ein
launenhaftes Thema mit
Unterbrechungen, in dem
das Schießen der
Soldaten zu hören ist.
Dieses endet in einigen
dissonanten Clustern, die
den tragischen Tiefpunkt
des Krieges betonen. Die
darauffolgende Stille
löst sich in einen
ruhigen Mittelteil in
Moll auf, aus dem
einerseits Verdruss und
andererseits Trost
spricht. Dann kehrt das
schnelle Tempo des
Anfangs zurück, dieses
Mal in der Form eines
Freudenmarsches. Die
Freiheit wird gefeiert.
Auch das Thema der
Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit ist wieder
zu hören. Nun folgt
ein feierliches,
martialisches Thema, eine
Ehrerbietung an das Dorf,
bevor das Werk mit
festlichen Klängen
endet.
The Lamb Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, soprano voice solo, alto voice solo, piano accompaniment - Early int...(+)
SATB choir, soprano voice
solo, alto voice solo,
piano accompaniment -
Early intermediate
SKU: GI.G-10283
From Songs of
Innocence. Composed
by Patrick Hawes. Evoking
Sound. Music Education.
Octavo. 12 pages. GIA
Publications #10283.
Published by GIA
Publications
(GI.G-10283).
English.
Text Source: From
Songs of
Innocence,
William Blake, 1757-1827,
alt. Text by William
Blake.
(Op. 100, 105, 109 Schirmer's Library of Musical Classics, Vol. 2088). By Johann...(+)
(Op. 100, 105, 109
Schirmer's Library of
Musical Classics, Vol.
2088). By Johann
Friedrich BurgmÌ_ller.
Edited by Louis Oesterle.
Piano Collection.
Softcover. 108 pages. G.
Schirmer #2088. Published
by G. Schirmer
(John Thompson's Modern Course Compiled and edited by Philip Low, Sonya Schumann...(+)
(John Thompson's Modern
Course Compiled and
edited by Philip Low,
Sonya Schumann and
Charmaine Siagian).
Composed by Various. For
Piano. Willis. Early to
Later Elementary.
Softcover. Published by
Willis Music
SAA choir, soprano voice solo, alto voice solo, piano accompaniment - Early inte...(+)
SAA choir, soprano voice
solo, alto voice solo,
piano accompaniment -
Early intermediate
SKU: GI.G-10510
From Songs of
Innocence. Composed
by Patrick Hawes. Evoking
Sound. Music Education.
Octavo. 12 pages. GIA
Publications #10510.
Published by GIA
Publications
(GI.G-10510).
English.
Text Source: FromSongs of
Innocence,
William Blake, 1757-1827,
alt. Text by William
Blake.
SATB choir, soprano voice solo, tenor voice solo, organ accompaniment - Early in...(+)
SATB choir, soprano voice
solo, tenor voice solo,
organ accompaniment -
Early intermediate
SKU: GI.G-10285
From Songs of
Innocence. Composed
by Patrick Hawes. This
edition: SATB and Organ
edition. Christmastide.
Evoking Sound. Music
Education. Octavo. 12
pages. GIA Publications
#10285. Published by GIA
Publications
(GI.G-10285).
English.
Text Source: From
Songs of
Innocence, William
Blake, 1757–1827,
alt. Text by William
Blake.
SATB choir, soprano voice solo, tenor voice solo, piano accompaniment - Early in...(+)
SATB choir, soprano voice
solo, tenor voice solo,
piano accompaniment -
Early intermediate
SKU: GI.G-10284
From Songs of
Innocence. Composed
by Patrick Hawes. This
edition: SATB and Piano
edition. Christmastide.
Evoking Sound. Music
Education. Octavo. 12
pages. GIA Publications
#10284. Published by GIA
Publications
(GI.G-10284).
UPC:
785147039600. English.
Text Source: From
Songs of
Innocence, William
Blake, 1757–1827,
alt. Text by William
Blake.
SATB choir SKU: ST.CN26P Composed by Richard Bullen. SATB unaccompanied (...(+)
SATB choir
SKU:
ST.CN26P
Composed by
Richard Bullen. SATB
unaccompanied (with
divisions). . This
PRINTED version is
available to purchase as
a regular sheet music
title for delivery by
post. Octavo. Stainer &
Bell Ltd. #CN26P.
Published by Stainer &
Bell Ltd. (ST.CN26P).
ISBN
9790220225390.
Rich
ard Bullen's 'dark
lullaby' The
Oxen was
commissioned by Choir
& Organ magazine
for the choir of St
Paul's Cathedral, and it
was featured in the
September 2016 issue as
part of the New Music
series showcasing choral
works by young composers.
Although lilting rhythms
evoke a mood of naivety
and innocence, of
children gathered in
hushed excitement around
the fireside on Christmas
Eve as pictured in the
first verse of Hardy's
well-known poem, there is
also an edge to the music
that reflects its
nostalgic, even bitter
content. First published
in The Times on
24 December 1915, this
seasonal lyric can also
be read as a lament for
loss of innocence and of
the simple urge to faith.
We might also find in its
reflection on the
distance between the
ideals of civilisation
and its reality, a tragic
separation that continues
to this day. Part of the
subtle resonance of the
poem is its
conversational manner.
Each voice should
therefore be phrased
flexibly and feelingly in
its contribution to the
discourse, while the
tempi should be
judiciously chosen to
enhance this overall
effect according to the
prevailing acoustic.