PARTITIONS GRATUITES :
- Passion Romantic

By Josef Gabriel Rheinberger. Edited by Theill, Han. For SATB Choir, Organ. Occasions: Stations of the Cross (7 words); Use during church year: Lent and Passiontide. Score. Language: German. Composed 1867. 46. 16 pages. Duration 14 min. Published by Carus Verlag (German import).

Great Themes Of The Romantic Era composed by Various. Arranged by Alexander Cole and Steven Paul. For easy piano. This edition: Paperback. Collection. Classical. Book. Text Language: English. 48 pages. Published by Santorella Publications

Chorus (with soloists) and orchestra (solos: SABar - choir: SATB - 2.2.2.2 - 2.2.3.0 - Pk - Str - Org)

SKU: BR.PB-32004

Passion Oratorio (Oratorio for Good Friday]) - Urtext. Composed by Friedrich Schneider. Edited by Nick Pfefferkorn. Choir; Softcover. Partitur-Bibliothek (Score Library).

Passion Music After Bach

Oratorio/passion; Romantic. Full score. 184 pages. Duration 60'. Breitkopf and Haertel #PB 32004. Published by Breitkopf and Haertel (BR.PB-32004).

ISBN 9790004215838. 10 x 12.5 inches.

This Passion oratorio Gethsemane und Golgatha was composed in the astonishingly short period from 22 to 28 July 1838 on a text by the evangelist Wilhelm Schuber, a close friend of Friedrich Schneider's. The premiere took place on Good Friday, 29 March 1839, in the Dessau Castle and City Church under the composer's direction. Contemporary reviews rank the curious work ... with respect to the form, in line with the Passions of the great J. S. Bach, constructed with such pious meaning and high art [...] and then get rather similarly carried away in effusive statements. The composer himself took utmost control of how his work was to be used and also most effectively involved the listening congregation in the performances by using for the chorales melodies that were sufficiently familiar from the worship service. At the same time, Schneider points out that the work was to be performed only in an ecclesiastical context. Purely as a Passion oratorio, Gethsemane und Golgatha fits in between the Johann Sebastian Bach Passions and Carl Loewe's Das Suhnopfer des neuen Bundes.

Passion Music After Bach.

Chorus (with soloists) and piano (solos: SABar - choir: SATB - 2.2.2.2 - 2.2.3.0 - Pk - Str - Org)

SKU: BR.EB-32004

Passion Oratorio (Oratorio for Good Friday]) - Urtext. Composed by Friedrich Schneider. Edited by Nick Pfefferkorn. Choir; Softcover. Edition Breitkopf.

Passion Music After Bach

Oratorio/passion; Romantic. Piano/Vocal Score. 96 pages. Duration 60'. Breitkopf and Haertel #EB 32004. Published by Breitkopf and Haertel (BR.EB-32004).

ISBN 9790004186305. 7.5 x 10.5 inches.

This Passion oratorio Gethsemane und Golgatha was composed in the astonishingly short period from 22 to 28 July 1838 on a text by the evangelist Wilhelm Schuber, a close friend of Friedrich Schneider's. The premiere took place on Good Friday, 29 March 1839, in the Dessau Castle and City Church under the composer's direction. Contemporary reviews rank the curious work ... with respect to the form, in line with the Passions of the great J. S. Bach, constructed with such pious meaning and high art [...] and then get rather similarly carried away in effusive statements. The composer himself took utmost control of how his work was to be used and also most effectively involved the listening congregation in the performances by using for the chorales melodies that were sufficiently familiar from the worship service. At the same time, Schneider points out that the work was to be performed only in an ecclesiastical context. Purely as a Passion oratorio, Gethsemane und Golgatha fits in between the Johann Sebastian Bach Passions and Carl Loewe's Das Suhnopfer des neuen Bundes.

Passion Music After Bach.

By Timothy Brown. For Piano. Written For You Collections. Level: Intermediate. Solo Sheet. Published by The FJH Music Company, Inc.

By Ralph Allwood (Editor). For SATB Choir. Romantic, Choral. Sheet Music. 124 pages. Published by Novello & Co Ltd.

Allegro appassionato (Cello and Orchestra Full Score). By Camille Saint-Saens (1835-1921) and Camille Saint-Sa. Edited by Maria Kliegel. For Cello, Orchestra. Concertino (Chamber Orchestra). Score. 28 pages. Schott Music #CON253. Published by Schott Music

Tuba and piano

SKU: P2.90126

Composed by Various. Arranged by Joe Caldarise. Published by Potenza Music (P2.90126).

Melodie - Taken from Tchaikovsky's Souvenir d'un lieu cher, this popular violin work fits in quite well with thick melodic low voice of the tuba. The original work began life as the second movement of the famous Violin Concerto, however the composer chose to discard and recast it in a more intimate setting for violin and piano. The lyrical melodic line, characteristic of Tchaikovsky, gives the performer a great opportunity to demonstrate how the tuba's power and flow can be applied to truly sing on the instrument. And the more technical moments allow the player to show off just how deft and nuanced the instrument can be as well.
Allerseelen - Strauss composed this All Soul's Day song to fit the poetry of the Austrian Hermann von Gilm. This popular art song has since been arranged for various settings, from orchestras to brass bands, but suits the tuba's voice just beautifully. The held notes give time for the tuba's sound to fill the room while the harmonies shift in that gorgeous late-Romantic style. And the climax provides the instrument with the great operatic moment that it so deserves.
Zueignung - Originating from the same Strauss song set as Allerseelen, this song takes a much more operatic turn. The opening rolling triplets give the piece a strong sense of forward momentum, carrying it as a performer might traverse across the stage. History has proven this to be one of Strauss' best-known songs, and the climactic statement in the final measures certainly gives the tuba a great moment to take center-stage.
Abendlied - The ever-moody Schumann originally composed this piece for violin and piano. Its slow and halting accompaniment allows the soloist to demonstrate their skills with rubato and nuanced phrasing. As with most Romantic music, care should be taken to bring out the accidentals, so as to heighten the dramatic tension-release of this seemingly simple piece.
Liebestraume - As one of Liszt's most popular pieces of all time, this piece is quintessential Romantic love song. No aspect of the tuba or tubist is left unexplored here. It begins with a simple, yet confined melody, taking advantage here of the tuba's warm middle-low register. The brief quasi cadenza section gives the player a sparkling moment to give the listener a glimpse of the tuba's technical capabilities. The accompaniment then gradually grows in intensity while the tuba elaborates on the main theme while ramping up the passion and strength of the instrument's voice. By mm. 41 and 54, the player should be commanding the room with the full power of the instrument, poured into a sweeping melodic phrase. After a dazzling display of technical fluency with the cadenza, the piece shrinks back to its most intimate form. The final bars of the solo part afford the player the chance to display the instrument's most delicate and poignant voice, before sliding back down into the lower register for final tonic note.
- Joe Caldarise.