PARTITIONS GRATUITES :
- Hymnus,

12-part Trombone Choir - Advanced

SKU: CY.CC3139

Composed by Julius Klengel. Arranged by Brian Conklin. Classical. Score and Parts. Cherry Classics #CC3139. Published by Cherry Classics (CY.CC3139).

ISBN 9790530111079. 8.5 x 11 in inches.

Hymnus, Op 57 is a piece first composed for 12 cellos by Julius Klengel and first published in 1920. Klengel was one of the most important German cellists and pedagogues of the German Romantic period. Hymnus is a lush, chordal and spiritual work composed in memory of the great conductor Artur Nikisch. It has been beautifully arranged for 12-part Trombone Choir by Brian Conklin. This 6 minute work is appropriate for advanced performers.

Arranged by Thomas Bold. Janet Lewis. For Alto voice solo, TTBB choir. (Men's Voices). Lent. Thomas Bold Cantus Hymnus Choral Series. Choral. Octavo. 8 pages. Published by ECS Publishing.

Arranged by Thomas Bold. Janet Lewis. For Alto voice solo, SAB choir. (Mixed Voices). Epiphany. Thomas Bold Cantus Hymnus Choral Series. Choral. Octavo. 8 pages. Published by ECS Publishing.

Fanfare Band - Grade 4

SKU: BT.GOB-000264-020

Composed by Andrew R. Mackereth. Set (Score & Parts). 72 pages. Gobelin Music Publications #GOB 000264-020. Published by Gobelin Music Publications (BT.GOB-000264-020).

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest, Kerkrade.

The commission was the result of a collaboration between the composer and the thenmusical director, Marten van der Wal.

The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like.
The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F, a semitone, third, fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif, theother being Fanfare for a Bright New Age for Brass Band and Organ, also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece.

The opening unison notes are intended to convey as sense ofpower and magnificence, like the first sounds at the dawning of the universe.
After the immense power, a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres, sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation.
The hymn builds as the piece progresses and is finally stated in its complete form at letter W.

The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person, he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience!

Conductors Note
The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre, lending itself to considerable rubato.
Melody is king, and all else is mere support and decoration, careful attention must therefore be given to balance.

Fanfare Band - Grade 4

SKU: BT.GOB-000264-120

Composed by Andrew R. Mackereth. Score Only. 20 pages. Gobelin Music Publications #GOB 000264-120. Published by Gobelin Music Publications (BT.GOB-000264-120).

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest, Kerkrade.

The commission was the result of a collaboration between the composer and the thenmusical director, Marten van der Wal.

The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like.
The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F, a semitone, third, fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif, theother being Fanfare for a Bright New Age for Brass Band and Organ, also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece.

The opening unison notes are intended to convey as sense ofpower and magnificence, like the first sounds at the dawning of the universe.
After the immense power, a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres, sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation.
The hymn builds as the piece progresses and is finally stated in its complete form at letter W.

The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person, he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience!

Conductors Note
The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre, lending itself to considerable rubato.
Melody is king, and all else is mere support and decoration, careful attention must therefore be given to balance.

Soloists (TB, with piano accompaniment) and mixed choir (SATB/SATB)

SKU: HL.49019926

In Flammen nahet Gott. Composed by Carl Friedrich Zelter. This edition: Saddle stitching. Sheet music. Choral. Softcover. 20 pages. Schott Music #ED21772. Published by Schott Music (HL.49019926).

ISBN 9790001196192. German.

'Die Sache war fur den Moment so gelungen, dass ich die Musik selber loben mochte, wenn sie nicht zufallig von mir ware.' So begeistert ausserte sich Carl Friedrich Zelter bereits 1831 uber seinen Hymnus an die Sonne, der nun endlich in der Reihe 'Schatze der Chormusik' einen wurdigen Platz gefunden hat. Das in diesem Hymnus verwendete Gedicht In Flammen nahet Gott stammt aus dem Hauptwerk Urania von Christoph August Tiedge. Die beiden Ecksatze dieses dreiteiligen Werks setzt Zelter fur zwei gemischte Chore (SATB/SATB) und verwendet dabei uber weite Strecken gleiches musikalisches Material. Durchbrochen werden sie von einem klavierbegleiteten Tenor- und Bass-Solo. Ein sehr wirkungsvolles, dabei gut machbares Werk voller Pathos, das sich glanzend eignet fur Chore, die keine Scheu vor Achtstimmigkeit haben.