Kindermusical. Par BREDENBACH INGO / BENDER MICHAEL BENEDICT. Davids aufregender Kampf gegen den starken Riesen Goliat, die nächtliche Beschwörungsszene bei der Hexe von Endor – was könnte spannender sein, als die packenden Geschichten um David, den späteren König der Israeliten? Mit fetzigen Schlagermelodien, Siegeshymnen, besinnlichen Liedern und Geistermusik machen die Komponisten M. B. Bender und I. Bredenbach das Kindermusical Unterwegs mit David zu einem farbenreichen Spiel – für einstimmigen Kinderchor und 1–3 Solorollen. Auftragswerk des Verb. Ev. Kirchenmusik in Württemberg zum Landeskinderchortag 2005 in Ravensburg./ Répertoire / Choeur d'Enfants à 1 Partie, Clarinette, Piano et

Kindermusical. Par BREDENBACH INGO / BENDER MICHAEL BENEDICT. Davids aufregender Kampf gegen den starken Riesen Goliat, die nächtliche Beschwörungsszene bei der Hexe von Endor – was könnte spannender sein, als die packenden Geschichten um David, den späteren König der Israeliten? Mit fetzigen Schlagermelodien, Siegeshymnen, besinnlichen Liedern und Geistermusik machen die Komponisten M. B. Bender und I. Bredenbach das Kindermusical Unterwegs mit David zu einem farbenreichen Spiel – für einstimmigen Kinderchor und 1–3 Solorollen. Auftragswerk des Verb. Ev. Kirchenmusik in Württemberg zum Landeskinderchortag 2005 in Ravensburg./ Répertoire / Choeur d'Enfants à 1 Partie, Clarinette, Piano et

Influential 18th-century oratorio deals with the triumph of the Jewish warrior-hero Judas Maccabaeus over the invading enemies of the Israelites. Beauty drama and brilliant originality of its arias duets and choruses have kept the work constantly in the active repertoire. Reprinted from authoritative edition of the German Handel Society. Text underlay in English and German.

Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Paperback-for SATB and piano A traditional Jewish song arranged as a gentle lullaby. These three folksongs are colourful original settings well within the grasp of most amateur choirs.

Du professeur de musique distingué, Robert A. Amchin, vient Shalom Chaveirim, ou 'Bonjour les amis!'. En complément de l'Schulwerk américaine Orff, Musique pour les enfants, cette collection présente des arrangements simples de chansons de dix-huit, des canons, et des mélodies de danse du patrimoine culturel des Juifs à travers le monde. Chaque pièce comprend une orchestration élémentaire, la traduction ou la translittération, ainsi que des suggestions pédagogiques utiles.Enrichi par une série de magnifiques illustrations de Robin Reikes, cette publication s'adresse aux enseignants en salle de classe qui cherchent à découvrir de nouvelles et attrayantes exercices musicaux, des chansons et des activités à explorer avec leurs élèves. / Guitare / 44 pages / Partition

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Violoncelle

For Clarinet Choir-Rikudim (de l?hébreu rikud ?danse?) est une suite de quatre danses originales inspirées de la musique traditionnelle juive. L?utilisation d?une structure tonale orientale l?introduction de mesures irrégulières et la richesse sonore de l?orchestration apportent à cette œuvre une teinte mélancolique mais surtout une grande authenticité. Les thèmes très inspirés sont clairement différenciés. L?harmonisation quelquefois surprenante sans jamais être dénaturée confère à ces quatre danses originales juives une grande richesse d?expression.

Paperback-for SATB and piano A rhythmic and spirited arrangement of a traditional Jewish song. These three folksongs are colourful original settings well within the grasp of most amateur choirs.

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Violon