SKU: HL.4003124
UPC: 884088608767. 9x12 inches.
Originally a composition for chorus by Kevin A. Memley, this adaptation by Preston Hazzard makes expert use of the various tone colors available for band. Cascading waterfall effects are represented in the mallet percussion and woodwinds, while an underlying rhythmic texture provides a flowing background for the lyric melody. The piece builds nicely to a full band climax before returning to a quiet and delicate mood for the close. Duration: 4:10.
SKU: HL.4003125
UPC: 884088608774. 9.0x12.0x0.07 inches.
Originally a composition for chorus by Kevin A. Memley, this adaptation by Preston Hazzard makes expert use of the various tone colors available for band. Cascading waterfall effects are represented in the mallet percussion and woodwinds, while an underlying rhythmic texture provides a flowing background for the lyric melody. The piece builds nicely to a full band climax before returning to a quiet and delicate mood for the close. Dur: 4:10.
SKU: HL.48186630
A. Manso: Romaria et Rio Lima (Guitar solo).
SKU: HL.51481639
UPC: 196288215851. 8.25x11.75x0.074 inches.
Gounod had no qualms about arranging well-known works by earlier masters after his own fashion. Thus in 1852 he added a melody with its own operatic climax to the famous arpeggios of the C-major Prelude BWV 846 from Bach's Well-Tempered Clavier. He first published instrumental versions of it under the title âMéditationâ , then tried fitting various texts to the melody until in 1859 he arrived at the definitive vocal version using the text of the Ave Maria. Already by the 1890s it was claimed that â[we] have heard this sweet melody innumerable times from the best lady singersâ, and its popularity has continued to the present day. Reason enough, then, for Henle Verlag to publish an Urtext edition of this worldwide hit, based on the sources and with appropriate critical commentary. In 1859, at the same time as the original edition for high voice, editions for middle and low voice, presumably commissioned by the publishers, were also issued. Following this model, the Henle Urtext edition of âAve Mariaâ is also offered in two transpositions for the lower register.
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SKU: HL.51481640
UPC: 196288215868. 8.25x11.75x0.071 inches.
Gounod had no qualms about arranging well-known works by earlier masters after his own fashion. Thus in 1852 he added a melody with its own operatic climax to the famous arpeggios of the C-major Prelude BWV 846 from Bach's Well-Tempered Clavier. He first published instrumental versions of it under the title �M�ditationï¿ ½, then tried fitting various texts to the melody until in 1859 he arrived at the definitive vocal version using the text of the Ave Maria. Already by the 1890s it was claimed that �[we] have heard this sweet melody innumerable times from the best lady singers�, and its popularity has continued to the present day. Reason enough, then, for Henle Verlag to publish an Urtext edition of this worldwide hit, based on the sources and with appropriate critical commentary. In 1859, at the same time as the original edition for high voice, editions for middle and low voice, presumably commissioned by the publishers, were also issued. Following this model, the Henle Urtext edition of �Ave Maria� is also offered in two transpositions for the lower register.
SKU: CA.964200
ISBN 9790007143510. Text language: Latin.
Matsushita's composition draws on elements of the Gregorian antiphon. It begins in unison Gregorian chant, as was typical of Renaissance motets, and the beginning of new lines of text are also derived from Gregorian material. Matsushita juxtaposes a syllabic, rhythmic declamation with this melody, constantly alternating bars with even and odd numbers of beats, the octave C' - C'' constantly repeated by the outer parts and leading towards the climax at the text nomen Jesu. After ascending D major arpeggios, the central word Jesu radiates into F sharp major, the following repetition in the compass of an octave on C is more tranquil, ending peacefully with an F major chord, ppp.
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