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You've selected:
It Is Not Death to Die - Orchestration
Sheetmusic to print
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It Is Not Death to Die
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.976710 Composed by Robert …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.976710 Composed by Robert Myers. Christian,Concert,Contemporary,Easter,Sacred. Octavo. 10 pages. WheatMyer Music #4767525. Published by WheatMyer Music (A0.976710). It Is Not Death to Die is a new setting of French poet Henri Abraham César Malan's Non, ce n'est pas mourir as translated by George Washington Bethune and adapted for this work. Why this text? It first came to my notice shortly after the passing of Billy Graham, who was known to paraphrase D. L. Moody, Someday you will read or hear that Billy Graham is dead. Don’t you believe a word of it. I shall be more alive than I am now. I will just have changed my address. I will have gone into the presence of God.Graham's bold proclamation and Malan's poetry motivated me to focus anew on the resurrection, re-remembering it as the pivotal element of the Christian faith. For if there is no resurrection, Paul says in 1 Cor 15, our faith is useless. But Christ has indeed been raised from the dead! Unfortunately, singing about heaven has, perhaps, been neglected of recent decades. We seem to have focused more on the already to the detriment of the not yet. But it is important to remember that this life is not all there is! Quoting Paul again, the sufferings of this present time are not worth comparing with the glory that is to be revealed to us (Rom 8:18). Yet, if Christ delays, the grim inevitability of our transition into eternity is a certain experience we all face. Malan's poetry so poignantly and eloquently captures this tension that it compelled me to compose a fresh musical setting that attempts to captures the mixture of dread and hope borne out in the acclamation that death is swallowed up in victory! I pray that this setting aids the Church to remember the great hope and promise Christ has granted us: O Death, where is your victory? O Death, where is your sting?_______________________________________________________________________________________________The music opens with a C# diminished chord in a very still and somber texture reflective of grief. The text is introduced with the first of two main motives, a rising 4-note outline of B minor in a triple repetition of It Is Not Death. As each stanza proceeds the music concludes on the second motive, a 5-note descending span of a minor 7th in Bb Lydian. The energy and mood of the music gradually shift over the five stanzas, as the focus moves from this life to the next; the texture thickens, the harmony expands, and the dynamic grows into the music’s pinnacle on reign with You on high! The music closes on a reprise of the opening section, simultaneously mindful of our mortality and our eternity.
$2.25
2.08 €
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Choral SATB
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Robert Myers
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It Is Not Death to Die
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WheatMyer Music
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
High voice
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
3.23 €
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High voice
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
It Is Not Death To Die by Sovereign Grace Music - Piano/Vocal/Chords, Singer Pro
Piano, Voice
Performed by: Sovereign Grace Music: It Is Not Death To Die Digital Sheetmusic - instantly…
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Performed by: Sovereign Grace Music: It Is Not Death To Die Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords;Singer Pro, instruments: Voice;Piano; 7 pages -- Gospel~~CCM~~Christian~~Religious~~Praise & Worship
$5.50
5.07 €
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Piano, Voice
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Sovereign Grace Music
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Piano/Vocal/Chords, Singer Pro
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Musicnotes
It Is Not Death To Die by Sovereign Grace Music - Leadsheet
Melody line, (Lyrics) and Chords
Performed by: Sovereign Grace Music: It Is Not Death To Die Digital Sheetmusic - instantly…
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Performed by: Sovereign Grace Music: It Is Not Death To Die Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Leadsheet;Lyrics/Melody/Guitar, instruments: Voice;C Instrument;Guitar; 2 pages -- Gospel~~CCM~~Christian~~Religious~~Praise & Worship
$3.95
3.64 €
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Melody line, (Lyrics) and Chords
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Sovereign Grace Music
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Leadsheet
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Musicnotes
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.8894…
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99
10.14 €
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Johann Sebastian Bach
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Luis Anjos Teixeira
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. 11 pages. Luis Anjos Teixeira #4741949. Published by Luis Anjos Teixeira (A0.889437). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern woodwind quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. Have fun! It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$9.94
9.17 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Op. 1, No. 3: Adieu from Songs of Gouvy, V2 (Downloadable)
Piano, Voice
Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
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Piano, Voice
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 3: Adieu from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.64 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
A Whitman Triptych: II. What Is the Grass? (Downloadable)
Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SK…
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Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. “What is the Grass?†is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.†Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,†leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…†Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.†My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…â€, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.†The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42
$2.85
2.63 €
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David Conte
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A Whitman Triptych: II. What Is the Grass?
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Here's To You
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.1310533 By Joan Baez. By Ennio Mo…
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Concert Band - Level 2 - Digital Download SKU: A0.1310533 By Joan Baez. By Ennio Morricone and Joan Baez. Arranged by Lorenzo Bocci. Film/TV. 54 pages. Lorenzo Bocci #899595. Published by Lorenzo Bocci (A0.1310533). For Concert Band - Grade 2,5 - Digital Download Composed by Joan Baez, Ennio Morricone. Arranged by Lorenzo Bocci. Film/TV. Concert Band - Blasorchester - Harmonie. With optional Choir (SATB) (not present in the score). Score and parts. Duration 3'42''. Published by Lorenzo Bocci.Here's to You is a song by Ennio Morricone and Joan Baez, released in 1971 as part of the soundtrack of the film Sacco & Vanzetti, directed by Giuliano Montaldo. The song is a tribute to two anarchists of Italian origin, Nicola Sacco and Bartolomeo Vanzetti who were sentenced to death by a United States court in the 1920s. The lyrics for Here's to You make use of a statement attributed to Vanzetti by Philip D. Strong, a reporter for the North American Newspaper Alliance, who visited Vanzetti in prison in May 1927, three months before his execution.  «If it had not been for these things, I might have lived out my life talking at street corners to scorning men. I might have died, unmarked, unknown, a failure. Now we are not a failure. This is our career and our triumph. Never in our full life we could have hoped to do such work for tolerance, for justice, for man's understanding of man as we now do by accident. Our words—our lives—our pains—nothing! The taking of our lives—lives of a good shoemaker and a poor fish peddler—all! That last moment belongs to us—that agony is our triumph!.»Here's to you, Nicola and BartRest forever here in our heartsThe last and final moment is yoursThat agony is your triumph..
$88.00
81.16 €
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Concert band
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Joan Baez
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Joan Baez, Ennio Morricone
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Here's To You
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Lorenzo Bocci
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SheetMusicPlus
Death Is Not an Unwelcome Stranger
Choral SATB
Choral Choir (SATB) - Digital Download SKU: A0.980854 Composed by Richard Nathan Sh…
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Choral Choir (SATB) - Digital Download SKU: A0.980854 Composed by Richard Nathan Shorten. Christian. Octavo. 11 pages. Shorten Studio Utah #3570611. Published by Shorten Studio Utah (A0.980854). SATB (SSATBB) with cello. 4 min. + 40 sec. For community choir, perhaps also school or church choir. Of course, death is usually sad to those of us left behind but not for those good souls who die. This is a song for those who think that there is a better place we go to after this life, according to how we lived. It has a strong folk or traditional feel to it.
$2.50
2.31 €
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Choral SATB
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Richard Nathan Shorten
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Death Is Not an Unwelcome Stranger
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Shorten Studio Utah
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SheetMusicPlus
Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
Small Ensemble - Level 4 - Digital Download SKU: A0.534549 Composed by Gregory Sull…
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Small Ensemble - Level 4 - Digital Download SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik Music Publishing #3627069. Published by Musik Fabrik Music Publishing (A0.534549). Text by William Shakespeare (A Midsummer Night's Dream Act V, Scene I)The ultimate overblown death scene for an actor of limited abilitiesIn the play, Nick Bottom thinks that he is the greatest actor alive. However, he is appallingly dreadful - he shamelessly overplays every line, mugs incessantly and makes word errors. He thinks that he is fabulous when, in fact, he is ridiculous. His suicide scene is one of the great moments for comic actors and it can take as long as the actor wishes - even up to 5 minutes. This aria is set in the same manner and many buffo singers immediately come to mind as models for such satire. This selection cannot be overplayed. It can be sung by any male voiceTEXT: Sweet Moon, I thank thee for thy sunny beams.I thank thee, Moon, for shining now so bright.For by thy gracious, golden, glittering gleams,I trust to take of truest Thisbe sight.—But stay, O spite!But mark, poor knight,What dreadful dole is here!Eyes, do you see?How can it be?O dainty duck! O dear!Thy mantle good,What, stained with blood?Approach, ye Furies fell!O Fates, come, come,Cut thread and thrum.Quail, crush, conclude, and quell!O wherefore, Nature, didst thou lions frame?Since lion vile hath here deflowered my dear,Which is—no, no—which was the fairest dameThat lived, that loved, that liked, that looked with cheer.Come, tears, confound!Out, sword, and wound!The pap of Pyramus— Ay, that left papWhere heart doth hop. (stabs himself)Thus die I, thus, thus, thus.Now am I dead.Now am I fled.My soul is in the sky.Tongue, lose thy light.Moon, take thy flight.Now die, die, die, die, die.(dies)
$11.95
11.02 €
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
In My End is My Beginning Guitar Vocal Performance
Bass guitar
Bass Guitar - Digital Download SKU: A0.1069985 Composed by Steven H. Boothe. Christ…
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Bass Guitar - Digital Download SKU: A0.1069985 Composed by Steven H. Boothe. Christian,Pop,Sacred. Full Performance. Duration 234. Boothe Publishing #4737083. Published by Boothe Publishing (A0.1069985). The death of Jesus Christ was not the end of the son of God. Having passed the test of His mortal probation here on earth, and giving His life to pay the price of our sins, He then entered the world of spirits. There He would organize His servants to preach His gospel to those who had died without a knowledge of it. It was the beginning of His role as the first fruit of the resurrection. Jesus Christ is the Savior and Redeemer of all mankind. When the Jews crucified Him they thought that they were putting an end to He who would be God. They thought that by killing Him they would be in control of the people. They had no idea that they were fulfilling the prophecy that they would kill their own God. They gave Him the opportunity to use His power over death to redeem all mankind. His end truly was His beginning. By dying he was living the life He had planned.
$1.99
1.84 €
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Bass guitar
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dying he was living the life He had planned
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Steven H
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In My End is My Beginning Guitar Vocal Performance
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Boothe Publishing
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SheetMusicPlus
In My End is My Beginning PVG
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.984025 Composed by Steven H.…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.984025 Composed by Steven H. Boothe. Christian,Pop. Score. 7 pages. Boothe Publishing #5984093. Published by Boothe Publishing (A0.984025). The death of Jesus Christ was not the end of the son of God. Having passed the test of His mortal probation here on earth, and giving His life to pay the price of our sins, He then entered the world of spirits. There He would organize His servants to preach His gospel to those who had died without a knowledge of it. It was the beginning of His role as the first fruit of the resurrection. Jesus Christ is the Savior and Redeemer of all mankind. When the Jews crucified Him they thought that they were putting an end to He who would be God. They thought that by killing Him they would be in control of the people. They had no idea that they were fulfilling the prophecy that they would kill their own God. They gave Him the opportunity to use His power over death to redeem all mankind. His end truly was His beginning. By dying he was living the life He had planned.
$4.99
4.6 €
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Piano, Voice
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dying he was living the life He had planned
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Steven H
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In My End is My Beginning PVG
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Boothe Publishing
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SheetMusicPlus
In My End is My Beginning Piano Vocal Performance
Piano, Voice
Piano,Voice - Digital Download SKU: A0.1069984 Composed by Steven H. Boothe. Arrang…
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Piano,Voice - Digital Download SKU: A0.1069984 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Full Performance. Duration 223. Boothe Publishing #4737077. Published by Boothe Publishing (A0.1069984). The death of Jesus Christ was not the end of the son of God. Having passed the test of His mortal probation here on earth, and giving His life to pay the price of our sins, He then entered the world of spirits. There He would organize His servants to preach His gospel to those who had died without a knowledge of it. It was the beginning of His role as the first fruit of the resurrection. Jesus Christ is the Savior and Redeemer of all mankind. When the Jews crucified Him they thought that they were putting an end to He who would be God. They thought that by killing Him they would be in control of the people. They had no idea that they were fulfilling the prophecy that they would kill their own God. They gave Him the opportunity to use His power over death to redeem all mankind. His end truly was His beginning. By dying he was living the life He had planned.
$1.99
1.84 €
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Piano, Voice
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dying he was living the life He had planned
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Steven H
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In My End is My Beginning Piano Vocal Performance
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Boothe Publishing
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SheetMusicPlus
Ten Studies for Trombone
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.792139 Composed by Johannes Brah…
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Trombone Solo - Level 3 - Digital Download SKU: A0.792139 Composed by Johannes Brahms. Arranged by Cherry, Gordon. Instructional,Romantic Period. Individual part. 12 pages. Gordon Cherry #3667999. Published by Gordon Cherry (A0.792139). The Brahms Ten Studies were originally written for Horn or Trumpet and were first published soon after his death in 1897. Unfortunately there is not much written about the origins of the Studies. There are questions as to whether they are original or manufactured by an enterprising musician. In my opinion, a few of the studies, especially the slower ones have the stamp of the Master on them. Mr. Cherry believes that the Studies are authentic. It is fairly certain that Brahms’s father did play some horn and there is a good chance that Johannes performed in a horn club as well. The Studies were all originally written in the key of C treble clef. Mr. Cherry has taken the liberty to transpose many of them into different keys for musical variety and technique. This is a common practice for many Trumpet and Horn study books. He has also added some breath marks and alternate slide positions. Many thanks to friend & colleague, Ralph Sauer, who helped with the editing of these studies. These studies are all in bass clef and appropriate for performers of intermediate level and higher.
$10.00
9.22 €
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Trombone
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Johannes Brahms
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Ten Studies for Trombone
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Gordon Cherry
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SheetMusicPlus
In the Locked Room
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str …
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - Digital Download SKU: S9.Q23800 Opera in 1 act. Composed by Huw Watkins. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 45 minutes. Schott Music - Digital #Q23800. Published by Schott Music - Digital (S9.Q23800). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$40.99
37.8 €
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
In the Locked Room
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str …
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - Digital Download SKU: S9.Q23450 Opera in 1 act. Composed by Huw Watkins. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 45 minutes. Schott Music - Digital #Q23450. Published by Schott Music - Digital (S9.Q23450). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$53.99
49.79 €
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
Orgelsinfonie No. 16
Organ
Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed b…
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Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99
20.28 €
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Organ
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Boudicca, Queen of the Iceni
Brass ensemble
Brass Ensemble - Level 3 - Digital Download SKU: A0.1027894 Composed by William Els…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.1027894 Composed by William Elsom. Contemporary. Score and parts. 46 pages. Will Elsom #3053855. Published by Will Elsom (A0.1027894). Programme Notes Boudicca became the Queen of the Iceni upon the death of her husband, Prasutagus. The Iceni had lived in relative peace with the Romans, with Prasutagus living as a client king, paying tribute to Rome. The Romans refused to accept a woman as the ruler, and sought to assume total control. To demonstrate its superiority, a Roman Legion attacked the Iceni, captured Boudicca and made her watch as her daughters were raped. She sought revenge, allying the Iceni with the Trinovantes under her command, and wreaked havoc, destroying many Roman settlements. Boudicca was only stopped when Rome sent one of the best generals of the time, Seutonius Paulinus. Seutonius has been depicted offering Boudicca surrender with honour and her life, but when she rejected this, his tactical acumen proved superior, and all the Iceni and Trinovantes were wiped out. 1 – Boudicca Unites the Tribes The piece opens with the initial statement of Boudicca’s theme. Figure 3 depicts Boudicca’s reign as the leader of the Iceni, interspersed with a sadder theme depicting her lonely widowhood. Figure 4 sees the tribes called together with a drinking song and Figure 5 is the war cry, as Boudicca gives a rousing speech, first to her own warriors then to the Trinovantes. The second time bar before Figure 7 sees the tribes fall into a restless sleep. Amid early morning mists, Figure 7 sees restless horses, with distant fanfares heard, signalling the coming of the Romans. The Romans main theme is at Figure 8, with a constant fanfare over the top, signalling the confidence of the leaders. Figure 10 sees the Iceni and Trinovantes coming slowly out of hiding, and Boudicca’s theme growing in volume until the death chords signify the tribes have prevailed. 2. The Bards Sing The tribes sing a hymn to an unnamed Pagan God. At Figure 13, the Euphonium develops Boudicca’s theme depicting Taranis, the Bard of the Iceni, singing wistfully of happier times. He then makes an impassioned speech for peace, before cutting off in mid sentence. He then sits quietly (Figure 16) fearing the future. Figure 17 gives a euphoric and hopeful rendition of the hymn, as if Taranis has not been heard. 3 – Epping NB: It is my piece, and I say Epping is as credible as anywhere as the site of the final battle, and will not enter into any correspondence on the matter! A fanfare awakens the two tribes. Figure 18 sees the tribes prepare for a final battle, and the repeated section depicts two victories at Verulanium (St Albans) and Londinium (London – then a small barracks). At Figure 20 Taranis has a vision, and tries to change Boudicca’s mind about another attack. Boudicca listens to him, but tells him the die is cast, and there is no going back. Death or Glory… The war cry ensues at Figure 21, but at Figure 22 it is the Romans’ theme heard, and the death chords (Figure 24) signify that it is the two tribes that are being slaughtered this time. Brave souls (Repiano and Flugel at 24) fight on in vain to allow Boudicca to escape. At Figure 25 Boudicca prays, but realising all is lost, at Figure 26 drinks poison. As she dies, the last thing this brave British heroine hears is the sound of the Roman’s theme, signifying Seutonius’ total victory. William Elsom, December 2004
$60.00
55.34 €
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Brass ensemble
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William Elsom
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Boudicca, Queen of the Iceni
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Will Elsom
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SheetMusicPlus
Overture (from Dionísio to Koré)
Cello,Clarinet,Drums,Flute,Guitar - Level 2 - Digital Download SKU: A0.948989 By Bi…
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Cello,Clarinet,Drums,Flute,Guitar - Level 2 - Digital Download SKU: A0.948989 By Bisdré Santos. By Bisdre Santos. 20th Century,Contemporary,Early Music,Instructional,Standards. 10 pages. Soul - Musical Creations #6425291. Published by Soul - Musical Creations (A0.948989). De Dionsio para Koré is a theatrical adaptation of the poetry book of the same name, which reveals the uncontrolled love of the god Dionsio for the mortal Koré. They constantly change roles in a cycle of death and rebirth. I wrote this soundtrack in a simple way. Some actors in the cast played some instruments in a beginner way, so I wrote a simple track inspired by ancient Greek music so that everyone could act and play the soundtrack with me live. In the instrumental formation, we have guitar, flute, clarinet, cello, and drums. This is piece 1 of 6 that integrates the soundtrack. The writing of the drums must be followed rhythmically as it is written, but the pitches of the notes can vary. The most important thing is that the drums are played according to the relative height (high, medium, and low). The songs are excellent for a group of beginning students to play together and practice chamber music, as they are a repertoire of easy execution and very impressive sonority. Good studies! Bisdré Santos Book with the complete soundtrack: https://www.sheetmusicplus.com/title/from-dionysus-to-kor-complete-soundtrack-6-pieces-digital-sheet...
$5.00
4.61 €
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Bisdré Santos
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Overture
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Soul - Musical Creations
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SheetMusicPlus
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