German folksongs in new and old arrangements for three-part choir (Soprano, Alto, Baritone). Par . This new collection contains 48 of the most popular German-language folksongs, arranged for three-part choir (Soprano, Alto, Baritone). Covering a wide variety of styles, it combines a selection of pieces from earlier Edition Peters anthologies with several new arrangements by leading exponents of German choral writing (Jutta Michel-Becher, Ludwig Böhme, Uli Führe, Uwe Henkhaus, Felicitas Kuckuck, Alwin M. Schronen, Sylke Zimpel) ? with a focus on singability and richness of sound. 48 popular German-language folksongs, arranged for three-part choir (Soprano, Alto, Baritone) A wide variety of pieces selected from earlier anthologies, together with new arrangements by Germany?s leading choral composers Mostly easy to intermediate arrangements, suitable for amateur choirs Edited by choral expert Jochen Stankewitz / Date parution : 2022-05-31/ Recueil / Choeur SAB

Edition no.: BA 8957 ISMN: 9790006525515 Editor: Münden, Gerd-Peter Language(s) of work: German, English, Latin Language(s) of text: German, English Product format: Score, Anthology Includes the following individual parts: Mixed choir: SSATBB, Children's choir: SSA oder Youth choir: SSA oder Chor (gleichstimmig) Organ ad lib. Binding: Stapled Pages / Format: IV, 52 S. - 29,0 x 21,0 cm Year after year, during Advent and the Christmas season, compositions are sought which present well-known carols in a new light, whether it be compositions set for small or larger groups, for children or adults, with or without accompanying keyboard instruments. This collection by Gerd-Peter Münden presents carols in new settings as a welcome addition to the Christmas literature and will enrich the repertoire of an adults’ or children’s choir. - Well-known Advent and Christmas carols in new settings - With texts in German and English - With short Latin introductions as a part of each motet - Ideal for a children’s or adults’ choir during the Christmas season Contents There comes a galley, laden / Es kommt ein Schiff, geladen O saviour, open heaven’s gate / O Heiland, reiß die Himmel auf O Lord, how shall I meet you / Wie soll ich dich empfangen Angels from the realms of Glory / Hört der Engel helle Lieder As I was watching o’er my sheep / Als ich bei meinen Schafen wacht Good Christian men rejoice / Nun singet und seid froh The Editor Gerd-Peter Münden is one of the most creative German church-musicians today. From 1992 to 1999 he worked as the cantor in Minden, where he also directed the music school for choristers. From 1999 he has been the Cathedral-Cantor at the Braunschweig Cathedral and the director of the cathedral school for choristers. He is the initiator and artistic director of a successful school project throughout Germany encouraging youngsters to sing.

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ? Maintenance ? Reeds ? Mouthpieces ? Ligatures ? Sound ? Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW?s alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it?s all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here?s the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book?s 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn?t think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, ?Now the Fun Begins?. There are also interesting side comments we don?t often hear like: in the 70s so many young players like Ponzol were trying to get Trane?s recorded sound by working on metal Links because that?s what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn?t have as much spit in the sound for him. It?s interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I?ve never heard anyone else recommend these exercises and yet here they are in Peter?s book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So ?the circle is unbroken? LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Writing a piece of music for Christmas . . . It's difficult. We all know Christmas carols and hymns which in words and music express joy expectation and light. Christmas and Christmas carols are the greatest joy of childhood - for me (for many others probably also) one of the strongest experiences of fulfilment peace and happiness. Were I not able to write a piece for Christmas then the thought of Christmas would even so create inspiration. The angels' song the heavenly light which is spread over the world - the world which is not evil or false and hollow but which is subjected to mankind's eternal restless endeavour.The work is dedicated to Ensemble 2000.PeterBruun.

LULLABY from The Unicorns (1967/82/86) 'The Lullaby from ‘The Unicorns’ arose from an opera libretto I commissioned from John Heath-Stubbs (1918-2006) in the late 1960s. In his story two unicorns are discovered in a remote part of Africa. Both the East and West want to obtain them for research so they send out rival expeditions. The Western technique is to lure the unicorn with a young girl singing a lullaby. Both East and West capture unicorns but the mythical animals escape in the end. I never completed the opera but I made a six movement suite from it called The Unicorns. There arethree songs and three instrumental numbers and the first performance was given with Elisabeth Söderström and Solna Brass under Lars-Gunnar Björklund at Ekensbergskyrkan Solna Sweden on 31 October 1982. This version was recorded (Albany TROY 760) and my arrangement of the three songs for voice and piano was recorded by Marilyn Hill Smith (Albany TROY365). The career of the Lullaby continued with a version for clarinet and piano which I premiered with Jack Brymer aboard the Sea Princess in the Mediterranean on 29 September 1986. The oboe version was for Sarah Francis and Duke Dobing and I have recorded it for flute and piano (Naxos 8.572287). Lullaby can be played with a variety of solo instruments and is also available for piano left hand and piano solo which I have recorded.' - Peter Dickinson

The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B

Volume I - Songs 1911-1919-The Peter Warlock Critical Edition series represents a treasure trove of English song.This the first volume focuses upon songs for the High Voice from the period 1911-1919. The songs of Peter Warlock are inspiring and intriguing pieces that rank him with the greatest English composers of all time. This is truly a superb collection of some of the best of his work painstakingly and meticulously edited by Michael Pilkington. This revised Critical Edition is an accurate faithful and exhaustive volume that maintains Warlock’s original keys and intentions. With thirteen songs each featuring an in-depth commentary this is a tremendousacquisition for any enthusiasts of English song.

Cavatina Fra 'Under Himlen' for Mezzo-Soprano Violin and Piano was composed by Bent Sørensen in 2001. Programme note: ”Cavatina” is a small aria from my and the dramatist Peter Asmussen’s opera ”Under the Sky”. One of the main characters from the opera Ida a beautiful young women who is unhappily married to a rather repellent husband stands looking out of the window and dreams of happiness: ”...I want to be happy... I want to see the golden light in the forests. I want to have my heart torn out and carriedthrough the world By the hands of my beloved.” ”Cavatina” was written 2001 and premiered the same year i Stockholm by Loré Lixenberg and David Albermann. (Bent Sørensen)

We are delighted that this new Mass Setting has now received the approval of the Bishops' Conference of Scotland and the ICEL in Washington. The setting is suitable for congregations but features optional choral harmony. It is dedicated to Mary MacKillop Australia's first canonised saint whose family originated in Lochaber in the West Highlands of Scotland. The hymn 'Lord I Give My Life to You' was sung by the massed choirs and congregation at the Papal Mass in Bellahouston Park Glasgow in the presence of Pope Benedict. The 1st mp3 sound file is the complete instrumental arrangement available by request from Rose-Conlon Music. The 2nd file is a shortenedchoral/instrumental version edited from the recording of the Papal Mass.The MacKillop Mass set to the new English translation by Peter Rose was first sung in the presence of Cardinal O'Brien shortly after Mary MacKillop's canonisation in Rome. These mp3 samples were recorded by the Parish Choir of Mary Help of Christians Sawtell NSW Australia directed by Sister Fidelis McAnespie.There are also two other editions of this music:(i) Choir Only Edition (Mass with Hymn: RCM112)and(ii) Congregation Melody Edition (Mass only: RCM110)Should you require any further information regarding the licensing procedures and permission for photocopying the words or music for liturgical use please contact: info@roseconlonmusic.co.uk (01397712882)Our Australian customers may be pleased to know that if it is more convenient they can now also order this music from Zephyr Music Pty Ltd (Sales Dept) 51 Hume Street Crows Nest N.S.W. 2065Tel: 00 612 9439 8900 Fax: 00 612 9437 4014Web-site: www.zephyrmusic.com.au. Please be sure to quote the publishers (Rose-Conlon Music) catalogue number (RCM101) and ISMN number: 979-0-708107-01-9

Set of parts for The Black Waters for String Trio by Peter Bruun. Score: WH31595 Programme note The initial and prevailing theme is from the song 'Det Fagreste Træ' with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun

Peter Dickinson's Celebration Trio (2009) for Clarinet Violin and Piano.The trio comprises of three pieces - Fugue Lullaby and Dance.'These three pieces derive froma story by the British poet John Heath-Stubbs (1918-2006) called The Unicorns. Two unicorns are discovered ina remote part of Africa. The two countries Eastland and Westland want to obtain specimens for research sothey send out competing expeditions. The Westland technique is to lure the unicorn with a young girl singing - the Lullaby. The Eastland team uses a dancer so that theunicorn impales itself on a tree the Dance. Both teams are successfulin capturing a unicorn but the mythical animals fall in love and escape happily together in the end.In the story the Fugue celebrates the eventual capture of the unicorns but it is placed first here as a celebration of the remarkable career of the Verdehr Trio. Since theybegan in 1972 they have commissioned over 230 works have performed all over the world and made recordings. Asa result they have virtually created the repertoire forthe medium of violin clarinet and piano. I much enjoyed writing my American Trio(Hymns Rags and Blues) for the Trio in 1985; they played it all over the world andhave recorded it; and this Celebration Triois a tribute to their musicianship andphenomenal enterprise' - Peter Dickinson.

This book of First Australian Songs follows the world-renowned John Thompson's Easiest Piano Course method that has helped thousands of beginners learn the Piano. Now you can learn all of those famous Australian pop and folk songs with ease.The John Thompson's Easiest Piano Course is one of the best-selling Piano methods ever, and for good reason. The collection of repertoire books that are intended as supplementary material for these tutors are equally deserving of their praise, with the way they enable students to put what they've learned into practice through familiar and famous songs. This particular songbook is made up of those Australian Songs that remind you of a beautiful beach with white sands and a crystal clear ocean, while also representing the natural beauty of the flora and fauna of the great island.Popular tunes like I'd Like To Teach The World To Sing, Kookaburra Sits In The Old Gum Tree and Waltzing Matilda perfectly supplement students working through parts 2, 3 and 4 of the Easiest Piano Course, with the songs are also ideal for use as sight-reading practice by more advanced students. Other familiar melodies include Waltzing Matilda, Skippy The Bush Kangaroo and, of course, The Australian National Anthem. By learning and playing fun songs from this book, students will be more motivated to play the Piano and will become more musical as a result.What's more, this book is great in the sense that it creates a natural progression for beginners. The pieces become more difficult as they go on, meaning players have something to strive for. Also, because techniques like dynamics and phrasing (though essential) are not introduced until the later parts of the course, they have been omitted from the earlier parts of this songbook, so that initially the student remains focused on accuracy in the notes and rhythm.To enhance learning through fun-to-play popular songs, the First Australian Songs book will bring a taste of down-under to your fingertips. These jaunty melodies and happy tunes will get you playing, and improving, in no time at all. / Piano