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| Hereford Carol Theodore Presser Co.
Choral Handbells, Organ, Piano, SATB chorus SKU: PR.342401450 Come All...(+)
Choral Handbells, Organ, Piano, SATB chorus SKU: PR.342401450 Come All You Faithful Christians, S.A.T.B., Piano or Organ And/Or Handbells. Composed by Sydney F. Hodkinson. Christmas and Holiday. Release Date: April 1985. Choral. Score. With Standard notation. Composed 1981. Theodore Presser Company #342-40145. Published by Theodore Presser Company (PR.342401450). UPC: 680160055210. Text: Anonymous. Anonymous. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Here We Come A-Wassailing Concert band - Easy Carl Fischer
Concert Band Alto Saxophone, Baritone (Bass Clef), Baritone Saxophone, Bass Clar...(+)
Concert Band Alto Saxophone, Baritone (Bass Clef), Baritone Saxophone, Bass Clarinet, Bassoon, Clarinet I, Clarinet II, Flute, Horn, Mallet Percussion, Oboe, Percussion I, Percussion II, Tenor, Tenor Saxophone, Timpani, Trumpet I, Trumpet II - Grade 2-2.5 SKU: CF.YPS62F Composed by Anonymous. Arranged by Robert Thurston. Carl Fischer Young Performance Series. Classical. Full score. With Standard notation. Carl Fischer Music #YPS62F. Published by Carl Fischer Music (CF.YPS62F). ISBN 9780825864582. UPC: 798408064587. 9 X 12 inches. An easy and straightforward arrangement of a popular Christmas Carol that features clever rhythmic variations on the tune. Mildly dissonant harmonies and imaginative scoring, including a brief, but effective, solo for the percussion section, add spice to the traditional Christmas brew. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Here's One Choral SATB SATB, Keyboard [Octavo] Theodore Presser Co.
For S.A.T.B., and Soprano Solo (or Divisi) with Piano Accomp. Arranged by Willia...(+)
For S.A.T.B., and Soprano Solo (or Divisi) with Piano Accomp. Arranged by William Grant Still. Text: Anonymous. Choir (SATB, keyboard). For SATB Chorus, Soprano Solo, Piano. Choir Loft Choral Series. Choral. Piano/Vocal Score. 8 pages. Published by Theodore Presser Company.
$2.50 $2.375 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Here We Come A-Wassailing Concert band - Easy Carl Fischer
By Anonymous. Arranged by Richard S. Thurston. Concert Band. For Concert Band. C...(+)
By Anonymous. Arranged by Richard S. Thurston. Concert Band. For Concert Band. Carl Fischer Young Performance Series. Choral. Grade 2-2.5. Score and Set of Parts. Tablature. 12 pages
$65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Away in a Manger Choral SATB SATB, Piano [Octavo] - Intermediate Jackman Music Corporation
By William J. Kirkpatrick. Arranged by Dan Carter. Text: Anonymous. For SATB Cho...(+)
By William J. Kirkpatrick. Arranged by Dan Carter. Text: Anonymous. For SATB Choir. Christmas. Level: Medium. Published by Jackman Music Corporation.
$1.30 $1.235 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First Concert Folio Trumpet [Part] - Beginner Carl Fischer
(Pices for Grade 1 Bands). By Anonymous Joseph Compello. Arranged by Andrew Bale...(+)
(Pices for Grade 1 Bands). By Anonymous Joseph Compello. Arranged by Andrew Balent Joseph Compello. For Trumpet. Sounds Spectacular. Classical. Part(s). Standard notation. 16 pages. Published by Carl Fischer
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| There is salvation in no other Music Distribution Services
Mixed choir a cappella SKU: M7.DOHR-10230 Composed by Anonymous. Sheet mu...(+)
Mixed choir a cappella SKU: M7.DOHR-10230 Composed by Anonymous. Sheet music. MDS (Music Distribution Services) #DOHR 10230. Published by MDS (Music Distribution Services) (M7.DOHR-10230). ISBN 9790202022306. German. $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| First Concert Folio Alto Saxophone [Part] - Beginner Carl Fischer
(Pieces for Grade 1 Bands). By Anonymous Joseph Compello. Arranged by Andrew Bal...(+)
(Pieces for Grade 1 Bands). By Anonymous Joseph Compello. Arranged by Andrew Balent Joseph Compello. For Alto Saxophone. This edition: Eb Alto Saxophone. Sounds Spectacular. Grade 1. Part(s). Standard notation. 16 pages. Published by Carl Fischer
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Favorite Recorder Tunes - Beautiful Airs and Ballads of the British Isles Recorder - Intermediate Mel Bay
Recorder - Intermediate SKU: MB.30963 Saddle-stitched, Solos and Duets. B...(+)
Recorder - Intermediate SKU: MB.30963 Saddle-stitched, Solos and Duets. British Isles. Book. 44 pages. Mel Bay Publications, Inc #30963. Published by Mel Bay Publications, Inc (MB.30963). ISBN 9781513468204. 8.75x11.75 inches. This exceptional collection of 41 truly beautiful airs and ballads from the British Isles offers both well-known tunes by the prolific blind Irish harpist, Turlough Oâ??Carolan and rarely heard melodies by anonymous composers; all have stood the test of time. Arranged for soprano or tenor recorder, these include Oâ??Carolanâ??s classically influenced â??Lord Inchiquinâ? and â??Eleanor Plunkettâ? as well as â??O Gentle Doveâ? and â??Cuckoo Dearâ?â?? both examples of the strong tradition of song in Wales. Among other tunes, the haunting modal melodies of â??The Dark Slender Boyâ? and â??Enchanted Valleyâ? express the melancholic heart and soul of the British Isles.
A few of these songs have taken on a life of their own in modern times. â??Bonny at Mornâ?, a popular traditional tune of northern England and Scotland, was arranged for soprano voice and harp by the 20th century British composer, Benjamin Britten. â??The Skye Boat Songâ? originally recounted Bonnie Prince Charles Edward Stuartâ??s journey to the Isle of Skye after his defeat at the historic Battle of Culloden. Later, the song evolved into a lilting lullaby and was more recently used as the theme song for the popular Outlander television series.
Departing slightly from recorder notation practice, author Marcia Diehl has judiciously arranged these melodies complete with spare slur markings to aid the amateur player in authentically and musically rendering these tunes. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Were You There? Choral SATB SATB, Keyboard Carl Fischer
Choral SATB Choir, keyboard SKU: CF.CM8769 For SATB Voices (Soprano So...(+)
Choral SATB Choir, keyboard SKU: CF.CM8769 For SATB Voices (Soprano Solo) with Keyboard. Composed by Anonymous. Arranged by Elizabeth Campbell. Choral. Piano reduction/vocal score. With Standard notation. Carl Fischer Music #CM8769. Published by Carl Fischer Music (CF.CM8769). ISBN 9780825846892. UPC: 798408046897. 6.875 X 10.5 inches. Key: Eb major. In this arrangement of the beloved African-American Spiritual, Elizabeth Campbell has employed the call and response tradition in both the choral writing and the use of a soprano soloist. The unobtrusive accompaniment quietly supports the choir as it shimmers above in opulent harmonies. $2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mystery Variations on a Theme by Colombi Cello Chester
Cello SKU: HL.14042177 Cello. Composed by Various. Music Sales Ame...(+)
Cello SKU: HL.14042177 Cello. Composed by Various. Music Sales America. Classical. Softcover. Composed 2012. 64 pages. Chester Music #CH77495. Published by Chester Music (HL.14042177). ISBN 9781780388700. 9.0x12.0x0.205 inches. Collection of original works created as anonymous gifts for the renowned Finnish cellist Anssi Karttunen. Includes works by 31 composers, including: Pascal Dusapin, Magnus Lindberg, Kaija Saariaho, Esa-Pekka Salonen, Steven Stucky, Tan Dun, and others. $42.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| There is no rose Stainer and Bell
SAT choir SKU: ST.CH102 Composed by Anonymous. Edited by John Stevens. S ...(+)
SAT choir SKU: ST.CH102 Composed by Anonymous. Edited by John Stevens. S and T Soli and SAT unaccompanied. Choral. Octavo. Stainer & Bell Ltd. #CH102. Published by Stainer & Bell Ltd. (ST.CH102). ISBN 9790220200106. S and T Soli and SAT unaccompanied. $1.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| First Concert Folio [Part] - Beginner Carl Fischer
(Pieces for Grade 1 Bands). By Anonymous Joseph Compello. Edited by Joseph Compe...(+)
(Pieces for Grade 1 Bands). By Anonymous Joseph Compello. Edited by Joseph Compello, Andrew Balent. Arranged by Andrew Balent Joseph Compello. For Flute, Oboe. Sounds Spectacular. Classical. Grade 1. Part(s). Standard notation. 16 pages. Published by Carl Fischer
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Romance de Amor Marimba - Intermediate Tapspace Publications
(arranged for solo marimba). By Anonymous. Arranged by Ralph Hicks. For marimba ...(+)
(arranged for solo marimba). By Anonymous. Arranged by Ralph Hicks. For marimba solo (4.3-octave, low A). Medium. Bound folio. 8 pages. Duration 3:50. Published by Tapspace Publications
$16.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Naninana PWM (Polskie Wydawnictwo Muzyczne)
Keyboard; String Orchestra (Score) SKU: HL.337527 For Amplified Keyboa...(+)
Keyboard; String Orchestra (Score) SKU: HL.337527 For Amplified Keyboard and String Orchestra in 2 Groups Score. Composed by Aleksander Nowak. PWM. Classical. Softcover. 30 pages. Duration 660 seconds. Polskie Wydawnictwo Muzyczne #11622. Published by Polskie Wydawnictwo Muzyczne (HL.337527). ISBN 9781540087553. UPC: 840126911886. 9.25x13.0x0.13 inches. Work commissioned by the National Audiovisual Institute, Poland on the occasion of the opening of the new venue. NANINANA for amplified keyboard instrument (preferably the classic Fender Rhodes Stage Piano) and string orchestra arranged in two symmetric groups, which was commissioned by the National Audivisual Institute for the opening of its new seat in 2015, is a composition on a special kind of absence. You could define this absence as perceivable, but difficult to understand. There are a lotof elements here which can illustrate this absence: from the interlude tones that are supposed to sound, yet not to the full, through the first appearance of the soloist with his part containing fragments of a composed melody which is mostly improvised, the second movement with harmony that can suggest hopeless longing for something that can never return, to the final culmination which is there, but seems as if it were not there... The work's motto is an anonymous poem that seems to refer to the concept of the so-called Schrodinger's cat, i.e. a hopeless attempt to rationally explain illogical phenomena in our world's microscale: Where, oh, where is that cat which is and is not there? Aleksander Nowak. $20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rejoice, Dolce, and Dance - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal and more. - Grade 2.5 SKU: CF.YPS237 Composed by Quincy C. Hilliard. Set of Score and Parts. 21+16+2+8+8+4+2+6+4+4+4+4+4+4+6+6+4+6+6+2+1+4+3+3 pages. Duration 4 minutes, 25 seconds. Carl Fischer Music #YPS237. Published by Carl Fischer Music (CF.YPS237). ISBN 9781491159538. UPC: 680160918126. Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics. Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance. Consortium Members: Commissioned by the International Bandmasters Fraternity, Phi Beta Mu Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics.Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance.  Consortium Members:Commissioned by the International Bandmasters Fraternity, Phi Beta Mu  Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rejoice, Dolce, and Dance - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal and more. - Grade 2.5 SKU: CF.YPS237F Composed by Quincy C. Hilliard. Full score. 21 pages. Carl Fischer Music #YPS237F. Published by Carl Fischer Music (CF.YPS237F). ISBN 9781491159545. UPC: 680160918133. Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics. Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance. Consortium Members: Commissioned by the International Bandmasters Fraternity, Phi Beta Mu Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics.Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance.  Consortium Members:Commissioned by the International Bandmasters Fraternity, Phi Beta Mu  Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ice Break Schott
Vocal SKU: HL.49002726 Vocal Score. Composed by Sir Michael Tippet...(+)
Vocal SKU: HL.49002726 Vocal Score. Composed by Sir Michael Tippett. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical, Opera. Piano reduction. Composed 1973-1976. 358 pages. Duration 70'. Schott Music #ED 11253. Published by Schott Music (HL.49002726). ISBN 9781495076602. UPC: 073999930863. 8.75x11.5x1.128 inches. English - German. Splintered and rich in reference as Tippett's operas are in their music and in their text, they carry at their heart a glowing confidence in the power ofhuman beings to find a centre and, from that centre, to sing. In The Ice Break that confidence has a global reach. The settings are anonymous: an airportlounge, a hospital, the street. For the first time since The Midsummer Marriage, Tippett uses a chorus, here to represent the mass of humanity, whose divisions are pointed in the central cast: divisions between generations, between sexes, between races, between exile and native. Lev arrives in a new world to join his wife Nadia, who had emigrated with their baby son, Yuri. Also at the airport are Yuri's girlfriend Gayle and her friend Hannah, there to meet the black 'champion', Olympion together with his fans. Out of a series of violent tensions, individual and collective, there develops a riot in which Olympion and Gayle are killed and Yuri is near-fatally wounded. Nadia dies peacefully. During an interlude in which a group attempts a psychadelic 'trip', the messenger, Astron, is mistaken for God - a claim he dismisses ironically. Yuri is operated on by Luke, a young doctor, and, released from the cracking plaster, he finds reconciliation with his father.(Paul Griffiths)
2 (2pic).2.ca.2 (Ebcl)*bcl.2.cbn-4.2.3.1-timp.7perc (s.d., t.d., b.d., slit dr., 5 tuned dr., jazz kit, timbales, bng., cym., sus.cym., w.bl., t.bl., cast., wh., tri., large tri., sleigh bells, flexatone, tam-tam, xyl., vib., glock., tub.bells, claves, guiro, glass chimes, bamboo wind chimes, metal bar, wind machine)-hrp.pno.cel.electric organ.egtr.bgtr-str. $101.00 - See more - Buy online | | |
| Ubi Caritas Choral SATB SATB A Cappella - Advanced Schott
Choral (SATB a cappella) - advanced SKU: HL.49045613 SSAATB a cappella...(+)
Choral (SATB a cappella) - advanced SKU: HL.49045613 SSAATB a cappella. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Choral. In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), Enjott Schneider combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colour. General Worship, Sacred. Octavo. Composed 2016. 12 pages. Duration 4' 30''. Schott Music #C59039. Published by Schott Music (HL.49045613). ISBN 9790001166164. UPC: 841886032538. 7.5x11.0x0.05 inches. Latin. The extremely compositional versatility of Enjott Schneider is evident even in the small(est) form of choral music. In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), the award-winning composer combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. Imbued with calmness and sensuality, the church music composition is based on the text of a Latin antiphon from the Maundy Thursday liturgy. According to the composer, these anonymous verses represent for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God!
In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), Enjott Schneider combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. According to the composer, the text represents for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God! $5.99 - See more - Buy online | | |
| Early Tudor Organ Music II Organ Stainer and Bell
Organ SKU: ST.EC66 Composed by Various. Edited by John Caldwell. This edi...(+)
Organ SKU: ST.EC66 Composed by Various. Edited by John Caldwell. This edition: Collected Editions. Library Volumes. Early Tudor Organ Music. Collection. Stainer and Bell Ltd. #EC66. Published by Stainer and Bell Ltd. (ST.EC66). ISBN 9780852499726. EECM65 and EECM66 revisit the repertoire of the ground-breaking volumes 6 and 10 in the series, Early Tudor Organ Music, in the light of 60 years of continuing research and deeper understanding of the surviving corpus. Some 109 works are brought together here, in the order in which they appear in each manuscript â?? British Library Additional MS 29996 accounting for three-quarters of the content, plus 22 works from other sources. There are settings for the Office (antiphons, hymns, the Te Deum and Magnificat) and Mass ordinary and propers (particularly the Offertory).
The format is of the same dimensions as other EECM volumes, although presented in landscape for more practical use. EECM66 contains Advent, Christmas, Epiphany and Lenten hymns from Add. MS 29996, and 22 pieces from other sources. Three appendices include intabulated pieces, plainchant melodies, and hymns and faburdens.
In addition to numerous anonymous titles, composers found in these volumes include Avery Burnett, Robert Coxsun, William Kyrton, Thomas Preston, John Redford, Philip ap Rhys, Edmund Strowger, Thomas Tallis, John Thorne, Robert White and Richard Wynslate. $133.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Early Tudor Organ Music I Organ Stainer and Bell
Organ SKU: ST.EC65 Composed by Various. Edited by John Caldwell. This edi...(+)
Organ SKU: ST.EC65 Composed by Various. Edited by John Caldwell. This edition: Collected Editions. Library Volumes. Early Tudor Organ Music. Collection. Stainer and Bell Ltd. #EC65. Published by Stainer and Bell Ltd. (ST.EC65). ISBN 9780852499719. EECM65 and EECM66 revisit the repertoire of the ground-breaking volumes 6 and 10 in the series, Early Tudor Organ Music, in the light of 60 years of continuing research and deeper understanding of the surviving corpus. Some 109 works are brought together here, in the order in which they appear in each manuscript â?? British Library Additional MS 29996 accounting for three-quarters of the content, plus 22 works from other sources. There are settings for the Office (antiphons, hymns, the Te Deum and Magnificat) and Mass ordinary and propers (particularly the Offertory).
The format is of the same dimensions as other EECM volumes, although presented in landscape for more practical use. Containing music exclusively from Add. MS 29996, EECM65 includes updated composer biographies compiled by David Mateer, and introductory notes for the two volumes on cantus firmus techniques and metrical structure, counterpoint and musica ficta, alternatim practice, and an historical account of the early English organ.
In addition to numerous anonymous titles, composers found in these volumes include Avery Burnett, Robert Coxsun, William Kyrton, Thomas Preston, John Redford, Philip ap Rhys, Edmund Strowger, Thomas Tallis, John Thorne, Robert White and Richard Wynslate. $157.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| I figli d'Italia bella - Intermediate/advanced Carus Verlag
Orchestra Solo T, Coro SATB, Fl picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Tr...(+)
Orchestra Solo T, Coro SATB, Fl picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficeide, Timp, Gran Cassa, Tamburo, Arpa, 2 Vl, Va, Vc, Cb - Grade 4 SKU: CA.5615100 Cessato il suon dell'armi. Composed by Giacomo Puccini. Edited by Virgilio Bernardoni. Carus digital: Extra digital products. Full Score. Composed 1877. SC 3. Duration 8 minutes. Carus Verlag #5615100. Published by Carus Verlag (CA.5615100). ISBN 9790007249250. Italian. Great opera in only 10 minutes! An impressive early work by Puccini is finally available as sheet music: The composer wrote the cantata I figli d’Italia bella in 1877 for a competition held by the province of Lucca. The text is a paean to Italy’s brilliant artistic tradition, remembered through the country’s great artists. The cantata has a rather eventful history: Considered lost for many years, a set of parts turned up about 20 years ago in which, however, the vocal solo was missing. Subsequently, the cantata was only performed with a reconstructed solo part. Then in 2019, an anonymous and previously unattributed manuscript was identified as an autograph of Puccini. It became clear that this was the missing complete score! Now we can hear how the composer captured the text in thrilling style with solo tenor, choir and large orchestra to create a vibrant work brimming with youthful sparkle and energy.The cantata perfectly complements Puccini’s Messa di Gloria (Carus 56.001), another early work by the composer that here and there shows some operatic tendencies. The cantata will also appear in Volume III/1 (Compositions for voices and instruments) of the Edizione Nazionale delle Opere di Giacomo Puccini.- Newly discovered Puccini autography- Grand opera on a miniature scale $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| He Came All So Still Choral SATB Gentry Publications
Composed by Nathaniel Adams. Gentry Publications. Concert. Octavo. 12 pages....(+)
Composed by Nathaniel Adams.
Gentry Publications. Concert.
Octavo. 12 pages. Gentry
Publications #JG2538.
Published by Gentry
Publications
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| I figli d'Italia bella - Intermediate/advanced Carus Verlag
Orchestra Solo T, Coro SATB, Fl picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Tr...(+)
Orchestra Solo T, Coro SATB, Fl picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficeide, Timp, Gran Cassa, Tamburo, Arpa, 2 Vl, Va, Vc, Cb - Grade 4 SKU: CA.5615103 Cessato il suon dell'armi. Composed by Giacomo Puccini. Edited by Virgilio Bernardoni. Vocal score. Composed 1877. SC 3. Duration 8 minutes. Carus Verlag #5615103. Published by Carus Verlag (CA.5615103). ISBN 9790007249267. Italian. Great opera in only 10 minutes! An impressive early work by Puccini is finally available as sheet music: The composer wrote the cantata I figli d’Italia bella in 1877 for a competition held by the province of Lucca. The text is a paean to Italy’s brilliant artistic tradition, remembered through the country’s great artists. The cantata has a rather eventful history: Considered lost for many years, a set of parts turned up about 20 years ago in which, however, the vocal solo was missing. Subsequently, the cantata was only performed with a reconstructed solo part. Then in 2019, an anonymous and previously unattributed manuscript was identified as an autograph of Puccini. It became clear that this was the missing complete score! Now we can hear how the composer captured the text in thrilling style with solo tenor, choir and large orchestra to create a vibrant work brimming with youthful sparkle and energy.The cantata perfectly complements Puccini’s Messa di Gloria (Carus 56.001), another early work by the composer that here and there shows some operatic tendencies. The cantata will also appear in Volume III/1 (Compositions for voices and instruments) of the Edizione Nazionale delle Opere di Giacomo Puccini.- Newly discovered Puccini autography- Grand opera on a miniature scale $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Last Judgment (Das jungste Gericht) Choral SATB Carus Verlag
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombone...(+)
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombones] SKU: CA.3601900 Wacht! Euch zum Streit gefasset macht. Composed by Dietrich Buxtehude. Edited by Ton Koopman. This edition: Paperbound. German title: Das Jungste Gericht. Oratorium Anh 3. Sacred vocal music, Oratorios. Full score. BuxWV Anh. 3. 176 pages. Duration 137 minutes. Carus Verlag #CV 36.019/00. Published by Carus Verlag (CA.3601900). ISBN 9790007090869. Language: German. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. $108.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Last Judgment (Das jungste Gericht) Choral SATB Carus Verlag
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombone...(+)
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombones] SKU: CA.3601903 Wacht! Euch zum Streit gefasset macht. Composed by Dietrich Buxtehude. Edited by Ton Koopman. This edition: Paperbound. Das Jungste Gericht. Oratorium Anh 3. Sacred vocal music, Oratorios. Vocal score. BuxWV Anh. 3. 136 pages. Duration 137 minutes. Carus Verlag #CV 36.019/03. Published by Carus Verlag (CA.3601903). ISBN 9790007091644. Language: German. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score available separately - see item CA.3601900. $41.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Last Judgment (Das jungste Gericht) Carus Verlag
Violine 2 SKU: CA.3601912 Wacht! Euch zum Streit gefasset macht. C...(+)
Violine 2 SKU: CA.3601912 Wacht! Euch zum Streit gefasset macht. Composed by Dietrich Buxtehude. Edited by Ton Koopman. Das Jungste Gericht. Oratorium Anh 3. Sacred vocal music, Oratorios. Individual part. BuxWV Anh. 3. 28 pages. Duration 137 minutes. Carus Verlag #CV 36.019/12. Published by Carus Verlag (CA.3601912). ISBN 9790007213879. Language: German. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and part available separately - see item CA.3601900. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Last Judgment (Das jungste Gericht) Choral SATB Carus Verlag
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombone...(+)
SSSATB vocal soli, SSATB choir, 2 violins, 2 violas, basso continuo, [2 trombones] SKU: CA.3601909 Wacht! Euch zum Streit gefasset macht. Composed by Dietrich Buxtehude. Edited by Ton Koopman. 2x 36.019/31 2 trombones. Das Jungste Gericht. Oratorium Anh 3. Sacred vocal music, Oratorios. Set of Orchestra Parts. BuxWV Anh. 3. 4 pages. Duration 137 minutes. Carus Verlag #CV 36.019/09. Published by Carus Verlag (CA.3601909). ISBN 9790007213855. Language: German. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and parts available separately - see item CA.3601900. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| There Is No Rose Of Such
Virtue Choral SATB Novello & Co Ltd.
There is no rose of such virtue is an anonymous mediaeval text, already well kno...(+)
There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)
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| Francis Pott: There Is No
Rose Of Such Virtue:
SATB: Vocal Score Choral SATB SATB [Vocal Score] Novello & Co Ltd.
(Novello New Choral Series)-There is no rose of such virtue is an anonymous medi...(+)
(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in
2.99 GBP - Sold by Musicroom UK | |
| N. Temperley: Christmas
Is Coming: Vocal Score Choral [Vocal Score] Stainer and Bell
Both a dedicated carol singer and an authority on the history of English music ...(+)
Both a dedicated carol singer and an authority on the history of English music Nicholas Temperley here offers a unique book of 37 carols dating from the fifteenth century to the present.For over fifty years he has sung edited and composed carols each Christmas and in Christmas is Coming the fruit of his enthusiasm is combined with his wealth of knowledge to produce an outstanding and original new collection. As John Rutter observes in his Foreword the book does not pointlessly duplicate what can be found in many other carol books but has a personality and purpose of its own.Twenty-two fresh and practical arrangements include carols from Austria France Germany Mexico Poland and the USA alongside music both rare and familiar from the rich heritage of the English carol tradition. As well as eight of his personal favourites from J. S. Bach to Charles Ives the author includes seven new compositions of his own settings of medieval and traditional texts that reveal his skill as a choral composer whose command of style ranges from the humorous to the profound.In addition to sample programmes and translations there are invaluable notes on the performance and history of individual items plus an historical summary of the genre as a whole: everything in fact to make Christmas is Coming an indispensable companion for singers who wish to enrich the seasonal repertoire for concerts churches and traditional Yuletide carolling.
11.45 GBP - Sold by Musicroom UK | |
| First Steps On My Piano -
Movie Easy Piano [Score] - Easy Ricordi
Edited By Franco Concina. FIRST STEPS ON MY PIANO is a collection of easy transc...(+)
Edited By Franco Concina. FIRST STEPS ON MY PIANO is a collection of easy transcriptions for piano beginners, each volume dealing with a specific repertoire with an international appeal. MOVIE contains 11 movie songs, including: Adagio (The Anonymous Venetian) - Once upon a Time in the West (Main Theme) - Here´s to You (Sacco & Vanzetti) - Histoire d´O - The Ballad of Sacco & Vanzetti (Sacco & Vanzetti) - Man with a Harmonica(Once upon a Time in the West) - A Fistful of Dollars (Main Theme) - Playing Love (The Legend of 1900) - The Entertainer (The Sting) - Sahara Dream (Main Theme) - The Great Pretender (American Graffiti). / Niveau : Facile / Méthode / Méthode / Piano
21.68 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Music For Royal Occasions Choral SATB Novello & Co Ltd.
Music for Royal Occasions is an exciting volume of pieces written for coronation...(+)
Music for Royal Occasions is an exciting volume of pieces written for coronations and other royal celebrations over the past five centuries. It includes long-standing favourites, such as Handel's Zadok the priest and Parry's I was glad - and works from earlier years, such an Henry Purcell's I was glad and the delightful Rejoice in the Lord alway . Many well-loved composers were commissioned to write motets for the coronation of Queen Elizabeth II, and several are published here, including George Dyson's stirring Confortare , William Harris's Let my prayer and Herbert Howells's Behold O God our defender . In addition, two pieces performed at the wedding oF the present Duke and Duchess of Cambridge are included: Paul Mealor's beautiful Ubi caritas , and Hubert Parry's epic anthem, Bless pair of sirens . Music for Royal Occasions provides a well-rounded concert programme in itself for choral societies or community choirs. The collection offers many useful and accessible pieces for church choirs, suitable for a wide variety of occasions. 'an inventive selection of festive music' - Jeremy Summerly, Choir and Organ / SATB
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| Anonymous: Prayer of
Thanksgiving: SATB: Vocal
Score Choral SATB SATB, Piano [Vocal Score] Schirmer
Based on an old Dutch melody printed by Adrianus Valerius in Nederlandtsche Gede...(+)
Based on an old Dutch melody printed by Adrianus Valerius in Nederlandtsche Gedenck-clank Harlem 1626 Prayer Of Thanksgiving has been arranged here by Eduard Kremser for SATB choir with Piano accompaniment.The English verison is by Dr. Th. Baker.
11.25 GBP - Sold by Musicroom UK | |
| Richard Allain: There Is
No Rose: SATB: Vocal
Score Choral SATB SATB [Vocal Score] Novello & Co Ltd.
Richard Allain's delightful and accessible setting of the popular anonymous fift...(+)
Richard Allain's delightful and accessible setting of the popular anonymous fifteenth-century Nativity song for SATB choir dividing into eight parts.
3.75 GBP - Sold by Musicroom UK | |
| The Entertainer Cello, Piano [Sheet music] Schott
This volume from the popular 'Cellissimo' series contains 37 popular recital pie...(+)
This volume from the popular 'Cellissimo' series contains 37 popular recital pieces from classical to pop music. It is suitable for lessons, performances and competitions. As there is little literature for the cello in jazz and pop style, this volume has a special focus on modern styles such as blues, jazz, pop, rock, funk, folk, Latin, or tango. The selection motivates and introduces to playing techniques of pop music (slide, hard chop etc). Many pieces can be played in the 1st - 4th position, while some also use harmonics or the 5th - 7th position. Entertaining music has existed at all times, so the volume also contains arrangements of popular classics: 'Eine kleine Nachtmusik' by Mozart, 'An der schönen blauen Donau' by Johann Strauß, 'Pomp and Circumstance' by Edward Elgar, or 'The Entertainer' by Scott Joplin. The motivational package for cello lessons!/ Recueil / Violoncelle et Piano
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| Shinichi Suzuki: Suzuki
Piano School 4: Piano:
Instrumental Tutor Piano solo Alfred Publishing
The New International Edition of Suzuki Piano School Volume 4 includes French ...(+)
The New International Edition of Suzuki Piano School Volume 4 includes French German and Spanish translations as well as a newly recorded CD performed by internationally renowned recording artist Seizo Azuma. Now the book and CD can be purchased together or separately. The contents have changed to include a new piece Tcherepnin's 'Bagatelle.' Mozart's 'Minuet III' and 'Minuet VIII ' from 8 Minuets have been removed and Bürgmuller's 'Arabesque' and 'By the Limpid Stream' have been moved here from Book 5. Titles: Rondo from Divertimento in D Major K. 334 (W. A. Mozart) * Minuet I from 8 Minuets K. 315g (W. A. Mozart) * Arabesque from 25 ProgressivePieces Op. 100 No. 2 (Burgmüller) * By the Limpid Stream from 25 Progressive Pieces Op. 100 No. 7 (Burgmüller) * Musette in D Major from J. S. Bach s Notebook for Anna Magdalena Bach (Anonymous) * Sonata in G Major Op. 49 No. 2 (Allegro ma non troppo; Tempo di minuetto) (Beethoven) * Bagatelle Op. 5 No. 9 (Tcherepnin) * Gavotte from Suite in G Minor (J. S. Bach) * Minuets I and II from Partita in B-flat Major (J. S. Bach) * Gigue from Partita in B-flat Major (J. S. Bach).
14.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| John McCabe: Woefully
Arrayed for Twelve
Voices: SATB: Vocal Score Choral SATB SATB [Vocal Score] Novello & Co Ltd.
Arranged for SSSAAATTTBBB the lyrics are from an anonymous writer of the fourte...(+)
Arranged for SSSAAATTTBBB the lyrics are from an anonymous writer of the fourteenth century and have been adapted by the composer.The composer says: 'Woefully arrayed is a supreme choral setting by William Cornysh Junior who died in 1523 of a text usually regarded as of anonymous composition though there have been some attributions to John Skelton. It is a thoughtful powerful meditation on Christ on the Cross and though Cornysh’s setting has remarkable intensity and contrapuntal artistry I felt a strong wish to add my own response to this fine text. The different versions of it have different verses that used by Cornysh has three verses (plus therefrain) while there are others with four or even five (one attributed to Skelton has five). I have chosen to restrict myself to the three used by Cornysh using my own adaptation of the modernised words which yet incorporates some archaisms a deliberate choice for reasons of rhythm and verbal sound. This setting was commissioned by the Three Choirs Festival 2009 for Stile Antico to whom it is dedicated.''Difficult to perform but not difficult to listen to this 2009 Three Choirs Festival commission was first performed by Stile Antico who have since toured it. It is a heartfelt response to the fourteenth-century text passionate and anguished Christ is on the cross ‘woefully arrayed’. Although written for a secular choir it is a piece that could be sung by many cathedral and collegiate choirs: there is considerable doubling between the sixteen lines and a keyboard reduction to help the initial sorting out. Above all it is dramatic and would communicate directly to audiences if given a chance to hear it.' - James L Montgomer RSCM review
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| Keith Calmes: Classical
Guitar Tunes: Guitar
Solo: Instrumental Album Guitar [Sheet music + Audio access] Mel Bay
This collection presents 51 carefully selected examples of Renaissance and Baroq...(+)
This collection presents 51 carefully selected examples of Renaissance and Baroque music ranging from lute and 5-course Baroque guitar works to solo and ensemble vocal pieces and fiddle tunes. Much of this music lies outside of the standard guitar repertoire yet is frequently played by ensembles at Renaissance and Early Music festivals. For this book, guitarist/musicologist Keith Calmes has tastefully arranged this splendid music for solo classic guitar, including an outstanding downloadable companion audio recording. Aficionados of Early Music will recognize many of the themes herein, including the hit tunes of the day by Praetorius, Sanz, Cutting, Narvaez, and the anonymous composer of ?Greensleeves?. Have you ever wondered which Early Music composers inspired Joaquin Rodrigo?s concertos? Those works are in here! By contrast, many of these pieces will sound completely new, even to lifelong guitarists. Written in standard notation only with ample fingering, guitarists and audiences alike will appreciate the music in this book. Includes access to online audio.
15.00 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The Recorder Consort
Anthology - 3-5 Recorders
(sat/satb/ssat/saatb/satt
b) Schott
editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-...(+)
editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)
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| Das Jüngste Gericht
(BUXTEHUDE DIETRICH) Solistes SSSATB, Choeur SSATB, 2
Violons, 2 AltoS [Sheet music] Carus Verlag
Wacht! Euch Zum Streit Gefasset Macht. Par BUXTEHUDE DIETRICH. There is a lot to...(+)
Wacht! Euch Zum Streit Gefasset Macht. Par BUXTEHUDE DIETRICH. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jüngste Gericht, for St. Mary’s Church in Lübeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. / Oratorio / Répertoire / Solistes SSSATB, Choeur SSATB, 2 Violons, 2 AltoS
102.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Anne Boyd: Jesus
Reassures His Mother:
SATB: Vocal Score Choral SATB [Vocal Score] University Of York Music Press
Jesus Reassures His Mother is a setting of medieval lyric poetry written anonymo...(+)
Jesus Reassures His Mother is a setting of medieval lyric poetry written anonymously in the 14th century. The poet recounts a vision of the young Mary rocking the infant Christ to sleep. The child requests hismother to sing a lullaby but alas knowing her child’s fate she is too sad to sing. Jesus tells her that all mothers worry about their children’s futures and insists that she should sing nevertheless. Mary recounts the visit ofGabriel and the events of Christ’s birth but reflects how sad it is to have delivered a child to such a fate. Jesus reassures his mother that he will be with his father in heaven where Mary will come to join Him at the end oftime there to live in eternal bliss. At this point Mary is persuaded by and echoes her child’s reassuring words and she is joined in this by the choir (now representing us all). The vision fades away in the voice of the narratorwhose loneliness and longing return. We learn that it is Christmas Day. This setting grows from the visionary mystical world inhabited by Julian of Norwich whose Revelations of Divine Love provided the inspiration for awork Anne Boyd composed in 1994. The medium has been expanded from the Song Company’s six solo voices used in the Revelations to the double motet choir of the Sydney Philharmonia who commissioned this work for their 75thanniversary. The parts of the infant Jesus Mary the Narrator and the angel Gabriel are taken by choir soloists: soprano alto tenor and bass. The work is situated in the context of Boyd’s personal musical aestheticwhich she describes as the intersection of Christian Love with Buddhist silence.
7.95 GBP - Sold by Musicroom UK | |
| Aus einem Spielbuch von
1740: Descant Recorder:
Instrumental Work BARENREITER
The music lover of the 18th century had a predilection for collections which off...(+)
The music lover of the 18th century had a predilection for collections which offered recreation and amusement while presenting innovative features in modest arrangements for home music making. These anonymously transmitted dance melodies from a music book of 1740 have been furnished here with an easily performable thoroughbass part for present-day music lovers of all ages. Recorder music for light-hearted and enjoyable music making.
9.50 GBP - Sold by Musicroom UK | |
| Thea Musgrave: Journey
Into Light (Full Score):
Soprano: Score Soprano voice, Orchestra [Sheet music] Novello & Co Ltd.
A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProg...(+)
A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and
19.99 GBP - Sold by Musicroom UK | |
| Thea Musgrave: Journey
Into Light: Soprano:
Vocal Score Soprano voice [Sheet music] Novello & Co Ltd.
A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProg...(+)
A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and
4.50 GBP - Sold by Musicroom UK | |
| Georg Friedrich Händel:
Water Music - Music For
The Royal Fireworks:
Organ: Harpsichord [Sheet music] - Intermediate Barenreiter
Cembalo Orgel - Flute Violine - Bc-Score with 3 parts (Flute/Oboe/Violin; Basso ...(+)
Cembalo Orgel - Flute Violine - Bc-Score with 3 parts (Flute/Oboe/Violin; Basso Continuo with figures (Cello/Bass); Basso Continuo realised with figures (Harpsichord/Organ)Musical text with arrangements by two Handel contemporaries as well as the editor’s own arrangement for Harpsichord or Organ.All editorial additions are clearly marked.Equally effective when performed note-for-note on the Organ.As early as 1743 while Handel was still alive Francesco Geminiani produced an arrangement of the Water Music for Keyboard instruments thereby making it possible to perform this popular work in domestic surroundings. Then presumably in 1749 an unknown musician arranged theMusic for the Royal Fireworks for transverse Flute or Violin and Harpsichord. In addition to these two contemporary versions this edition also contains an arrangement by the editor for Harpsichord or Organ based on the first edition. Though both early sources explicitly mention a Harpsichord the arrangements can also be performed effectively note-for-note on the Organ. As the surviving anonymous version merely places a solo part and a figured Bass on a two-stave system our edition is accompanied by performance material with one part each for transverse Flute/Oboe/Violin and Violoncello/Double Bass plus a figured Bass realisation.
40.00 GBP - Sold by Musicroom UK | |
| François Couperin:
Pièces de clavecin/ for
Harpsichord Livre 1:
Harpsichord: Piano solo Barenreiter
Edited by Denis HerlinWith notes on performance practiceThe original edition of ...(+)
Edited by Denis HerlinWith notes on performance practiceThe original edition of the first volume of Couperin’s Pièces De Clavecin (1713) supervised by the composer himself is noteworthy for its extraordinary notational precision. It contains exacting performance instructions for which Couperin created his own symbols. This new Urtext edition in a modern engraving retains the essential features of the original print such as the distinction between curved ties and straight legato slurs thereby giving today’s players fascinating insights into the special sound of this music.The editor has for the first time closelyanalysed the various proofs of the original edition some of which he discovered himself. He lists these alternative readings in the Critical Commentary. The edition also presents conflicting versions of several pieces as well as an anonymous work possibly attributable to Couperin. A detailed Foreword notes on period performance practice and facsimile illustrations round off this edition making it indispensable to all admirers and performers of French clavecin music.First evaluation of an extensive number of sourcesWith Couperin’s original expression marksContains optimum page turnsNotes on performance practice detailed trilingual Foreword (Fr/Eng) and a Critical Commentary (Eng)
45.50 GBP - Sold by Musicroom UK | |
| Johann Jakob Froberger:
Keyboard and Organ Works
from Copied Sources:
Organ: Organ Barenreiter
Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed e...(+)
Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed explanatory notes.Johann Jacob Froberger who lived from 1617 to 1667 developed a style of composition representing a synthesis of Italian French and English influences thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger?s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques.Also information on performance practice on instruments of the time and on ornamentation is included as well as details on Froberger?s biography.Volume V.2 like the previously published volume V.1 contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity new readings and two appendices containing works of doubtful authenticity and spurious arrangements.
55.50 GBP - Sold by Musicroom UK | |
| Harald Genzmer:
Greensleeves GeWV 261:
Treble Recorder: Score Schott
Variations on an Old Folk Song-Commissioned by the Schott publishing house the ...(+)
Variations on an Old Folk Song-Commissioned by the Schott publishing house the present variations on the song Greensleeves were written in 2000 by Genzmer who seized on the suggestion to write a cycle of variations on this Old English melody which had often served as a theme for variations in music history as for example in the famous anonymous cycle 'Greensleeves to a ground' (around 1700). Genzmer keeps the theme simple yet with great virtuosity and original harmony. All parts are written in a linear fashion. The four variations observe almost in a classical manner the principle of increasing differentiation and acceleration of therhythm.Variation 1 uses crotchets and quavers as well as semiquaver triplets whereas Variation 2 uses semiquavers throughout and Variation 3 the somewhat faster semiquaver triplets. Variation 4 stays on this fast rhythmic level with semiquavers and semiquaver triplets. A rewarding piece for the 'Jugend musiziert' competition as well as for advanced lessons.
14.50 GBP - Sold by Musicroom UK | |
| Just a Closer Walk with
Thee: SATB: Vocal Score Choral SATB [Vocal Score] Hinshaw Music Inc.
Anonymous-One of the early 20th century's most popular gospel hymns Graham Farr...(+)
Anonymous-One of the early 20th century's most popular gospel hymns Graham Farrell has arranged the work here for mixed chorus organ and trumpet. Try this contemporary setting in church or festival gatherings.
14.25 GBP - Sold by Musicroom UK | |
| Fun and Easy Trios for
Trumpet: Brass Ensemble:
Part Hal Leonard
Trumpet trio only (different instrument parts are not interchangeable) Includes:...(+)
Trumpet trio only (different instrument parts are not interchangeable) Includes: Fanfares (Cacavas) · Pop Goes the Weasel · Silent Night (Franz Gruber/Joseph Mohr) · Deep River (African-American Spiritual) · Swanee River (Old Folks at Home - Stephen Foster) · Sailor's Song (Edvard Grieg Op. 8 No. 1) · Joshua Fit the Battle of Jericho (Spiritual) · We Wish You a Merry Christmas · Choucoune (Mocking Bird - Haitian Folk Song) · Lonesome Road (Spiritual) · America (My Country 'Tis of Thee) · The Star Spangled Banner (J.S. Smith/F.S. Key) · The Marine's Hymn (based on a melody of Offenbach) · Minuet No. 1 (from Notebook for Anna Magdalena Bach) · Deck the Hall · For He's a JollyGood Fellow (Traditional) · The Red River Valley (Cowboy Song) · Skip to My Lou (Traditional) · Frankie and Johnny (Anonymous Blues Ballad) · Auld Lang Syne (Scottish Melody) · Yankee Doodle · Hail Hail the Gang's All Here (Arthur Sullivan)
9.99 GBP - Sold by Musicroom UK | |
| Dan Forrest: The Music of
Living: TTBB: Vocal Score Choral TTBB [Vocal Score] Hinshaw Music Inc.
Though also available for mixed voices (HMC2321) here Dan Forrest sets this ano...(+)
Though also available for mixed voices (HMC2321) here Dan Forrest sets this anonymous text for male voices TTBB with piano. Optional violin horn timpani and percussion (HMC2357a) are also possibilities. High school men or more mature voices would find success enjoyment with this piece.
17.50 GBP - Sold by Musicroom UK | |
| With Wondering Awe: SATB:
Vocal Score Choral SATB [Vocal Score] Hinshaw Music Inc.
The simple but lovely melody of this anonymous Christmas carol from the Laudis ...(+)
The simple but lovely melody of this anonymous Christmas carol from the Laudis Corona Boston collection of 1885 is beautifully arranged here for mixed voices. Try a set of Neil Harmon carol arrangements on your next Advent lessons and carols.
11.25 GBP - Sold by Musicroom UK | |
| Riu Riu Chiu: 3-Part
Choir: Vocal Score Choral 3-part [Vocal Score] Hal Leonard
Here is a setting of the anonymous 16th-century Spanish carol with a secular Eng...(+)
Here is a setting of the anonymous 16th-century Spanish carol with a secular English text. Available: 2-Part 3-Part Mixed. Performance Time: Approx. 2:00.
11.25 GBP - Sold by Musicroom UK | |
| Sainte-colombe - Pour La
Basse (manuscrit De
Tournus) - Viole De Gambe Viola da Gamba Guntersberg
Sainte-Colombe (2nd half of 17th century) Pour la Basse The pieces for Viola da ...(+)
Sainte-Colombe (2nd half of 17th century) Pour la Basse The pieces for Viola da Gamba solo from the manuscript M.3 of the Bibliothèque municipale of Tournus In 1992, in the French town of Tournus, an extensive anonymous music manuscript was discovered, which for insiders was nothing less than a sensation. For it turned out that 143 of the pieces in this collection of music for viola da gamba solo were by Sainte-Colombe, the most important viol player and composer in France before Marin Marais. Since, for various reasons, the manuscript is not easy to read for today?s players, we present here for the first time a practical edition that contains all of Sainte-Colombe?s pieces from the Tournus manuscript. The transcription into modern notation has been done with great care, and the original notation retained wherever possible. Sainte-Colombe?s music is so interesting for the performer because it violates many compositional and musical rules, and as a result often seems improvised. Its soothing and frequently melancholy character is unique. It represents a challenge that every viola da gambist should take upon him/herself.
44.90 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Suo Gân Choral SATB SATB, Organ Novello & Co Ltd.
The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ A...(+)
The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer, in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh.This traditional Welsh song has been a favourite within the repertoire for many years, after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church, Katherine Jenkins and the Choir of King's College, Cambridge, Suo Gân is one of the most recognisable and well-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance, with the combination of such a new take on an established classic with simple beautiful music. / Choeur Mixte (SATB) Et Orgue
4.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Francis Pott: As Joseph
was a-walking: Mixed
Choir: Vocal Score [Vocal Score] Oxford University Press
This carol was composed in March 2009 and bears a dedication to Jeremy Backhouse...(+)
This carol was composed in March 2009 and bears a dedication to Jeremy Backhouse and the Vasari Singers with whom Pott has enjoyed a fruitful creative relationship over recent years. The folk ballad style of the anonymous traditional text lent itself well to a musical setting that preserved the original strophic arrangement and this in turn encouraged the use of textural variation in successive verses to offset repetition of the same musical material. One ‘verse’ of music actually spans two verses of text and therefore the first verse of the poem is here repeated before the fifth and last of the original an arrangement which permits three completemusical presentations. In the second of these the melody is sung by the tenors against a flowing wordlessly hushed background. In the third the melody deviates slightly presenting its central material slightly higher in pitch to create a restrained climax before a slower more melancholic peroration. Francis PottOver the past twenty-five years Francis Pott has acquired an international reputation as a composer of dramatic and emotionally challenging music. His writing unites a distinctive personal voice with a highly disciplined yet versatile technique that is rooted in a keen awareness of the past. Including a steady flow of major commissions his works are regularly performed recorded and broadcast throughout the world. Formerly Lecturer in Music at St Hilda's College Oxford he is currently Professor of Composition at London College of Music Thames Valley University.
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