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| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bach: Major Choral Works Vocal Scores (Version 2.0) Choral [CD Sheet Music] Subito Music
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2....(+)
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| Esslinger Orgelbuch, Bd. II und III: Vorspiele und Begleitsatze Organ Carus Verlag
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| Johann Sebastian Bach: 371 Harmonized Chorales And 69 Chorale Melodies W/Figured Bass
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SKU: CA.1290100 Composed by Various. Edited by Gunther Kretzschmar. This edition: Paperbound. Choral collections for children's choir; Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. Musik fur Gottesdienst, Spiel und Fest. Psalms, German, Songs for children, Secular choral music, Special days, Ascension, New year, Easter and Eastertide, Whitsun, Reformation day, Praise and thanks, Morning, midday, evening. Collection. Composed 1992-96. 160 pages. Carus Verlag #CV 12.901/00. Published by Carus Verlag (CA.1290100). ISBN 9790007088194. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| There Is No Rose Choral 3-part SSA Carl Fischer
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580). ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol. The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol. The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol. The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol. The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol. The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol. $1.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kirchenliedsatze mit einer Mannerstimme. Varia Bd. 2 Carus Verlag
SKU: CA.1490200 Composed by Various. Hymns by Martin Luther: Ausgaben mit...(+)
SKU: CA.1490200 Composed by Various. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Band 2. Sacred vocal music, Hymn settings, Easter and Eastertide, Whitsun, Eucharist, Communion, Praise and thanks. Collection. 252 pages. Carus Verlag #CV 14.902/00. Published by Carus Verlag (CA.1490200). ISBN 9790007031398. $35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Real Worship Book C Instruments [Fake Book] Hal Leonard
(C Instruments). By Various. Fake Book. Softcover. 368 pages. Published by Hal L...(+)
(C Instruments). By Various. Fake Book. Softcover. 368 pages. Published by Hal Leonard
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Geistliches Chorbuch der Romantik Choral [Sheet music] Carus Verlag
By Various. Edited by Helbich, Wolfgang / Herzog, Ernst. Hymn settings, Mass Sec...(+)
By Various. Edited by Helbich, Wolfgang / Herzog, Ernst. Hymn settings, Mass Sections, Motets, Psalms, German; Choral Collections, Mixed Choir; Occasions: Eucharist, Communion, Peace and Justice, Prayer, Confirmation, Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Morning, Midday, Evening, Psalms, Daily hours, Mourning, Death, Our Father; Use during church year: Advent, Special Days, End of the church year, Lent and Passiontide, Corpus Christi, Ascension, Holy Week, Easter and Eastertide, Ascension, Reformation day, Trinity, Christmas. Ch
$33.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Christmas A Cappella Choral SATB SATB [Sheet music] Barenreiter
(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (u...(+)
(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (unaccompanied). Format: a capella songbook. With choral notation, lyrics, performance notes, introductory text and index of first lines. Christmas and holiday. 224 pages. 9x12 inches. Published by Baerenreiter-Ausgaben.
(3)$36.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Chorbuch Brahms, Mendelssohn, Schubert Choral [Sheet music] Carus Verlag
By Johannes / Mendelssohn Bartholdy Brahms. Edited by Bretschneider, Wolfgang / ...(+)
By Johannes / Mendelssohn Bartholdy Brahms. Edited by Bretschneider, Wolfgang / Dromann, Hans-Christian. Hymns, Hymn settings, Masses, German, Mass Sections, Motets, Secular Choral Music; Choral Collections, Mixed Choir; Occasions: First Communion, Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Psalms, Tantum ergo; Use during church year: Special Days, Holy Week, Easter and Eastertide, Ascension, Christmas. Choral collection. 96 pages. Published by Carus Verlag (German import).
$18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Geistliche Chormusik der Romantik [Sheet music] Carus Verlag
By Various. Edited by Siegfried Bauer. This edition: paperbound. Sacred, Hymn se...(+)
By Various. Edited by Siegfried Bauer. This edition: paperbound. Sacred, Hymn settings, Mass Sections, Motets, Psalms, German; Choral Collections, Mixed Choir; Occasions: Eucharist, Communion, Peace and Justice, Prayer, Wedding, Confirmation, Praise and thanks, Morning, Midday, Evening, Psalms, Daily hours, Baptism, Mo. Choral collection. 88 pages. Published by Carus Verlag
$20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Lyric Library: Contemporary Christian Lyrics only Hal Leonard
Complete Lyrics for 200 Songs. Lyric Library. Size 6x9 inches. 228 pages. Publis...(+)
Complete Lyrics for 200 Songs. Lyric Library. Size 6x9 inches. 228 pages. Published by Hal Leonard.
$14.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sing & Praise Piano solo Music Sales | | |
| More of the Easy Worship Fake Book C Instruments [Fake Book] Hal Leonard
(Over 100 Songs in the Key of C). By Various. For C Instruments. Easy Fake Book....(+)
(Over 100 Songs in the Key of C). By Various. For C Instruments. Easy Fake Book. Softcover. 184 pages. Published by Hal Leonard
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Johann Sebastian Bach: Chorales 1-91
Choral SATB SATB [Vocal Score] Schirmer
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider, Charles Boyd. Vocal score book for SATB choir. With vocal score notation (open score in German; closed score in English), introductory text and . Text language English; lyrics in German and English. 127 pages. Published by G. Schirmer, Inc.
(5)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Keyboard of the Winds Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performance score. With Standard notation. 16 pages. Duration 8:30. Theodore Presser Company #110-41816. Published by Theodore Presser Company (PR.110418160). ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches. Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead. I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead. $18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hymn settings III (Church, Word of God, Sacrament) Carus Verlag
SKU: CA.2901500 Composed by Helmut Bornefeld. This edition: Complete edit...(+)
SKU: CA.2901500 Composed by Helmut Bornefeld. This edition: Complete edition. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Bs 3 Kirche/Wort/Sakrament. Organ music based on hymns, Easter and Eastertide, Eucharist, Communion, Baptism, Mourning, death. Collection. 32 pages. Carus Verlag #CV 29.015/00. Published by Carus Verlag (CA.2901500). ISBN 9790007102166. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| What Praise Can I Play on Sunday? Complete Collection -- For the Entire Church Year Piano solo - Intermediate/advanced Alfred Publishing
(Easily Prepared Piano Arrangements). Arranged by Carol Tornquist. For Piano. Bo...(+)
(Easily Prepared Piano Arrangements). Arranged by Carol Tornquist. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Sacred. Early Advanced; Late Intermediate. 230 pages. Published by Alfred Music
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Night Divine - Bulletins (100-pak) Choral SATB - Easy Word Music
SATB choir - Easy SKU: WD.080689498770 Dawn of Love's Pure Light. ...(+)
SATB choir - Easy SKU: WD.080689498770 Dawn of Love's Pure Light. Composed by Kenna Turner West, Dale Mathews & Steve W. Mauldin. Arranged by Steve W. Mauldin. Choral, cantatas. Simply Word. Bulletins (100-pak). Duration 39 minutes. Word Music #080689498770. Published by Word Music (WD.080689498770). UPC: 080689498770. From the creative team that brought you the best-selling musical, Joy, Unspeakable Joy!... Kenna Turner West, Dale Mathews and Steve W. Mauldin...comes another uplifting, worshipful and inspiring seasonal musical for your Christmas choir. O Night Divine compels the listener to celebrate the joyful, glorious birth of our Lord and Savior. It encourages us to offer our highest praise to the One known by such magnificent names as Wonderful Counselor, Mighty God, and Everlasting Father. And it invites us to come to the manger, bow down, and worship the King of Kings. All of the songs are woven together with threads of a rich narration and the colorful, many-faceted arrangements and orchestrations of Steve W. Mauldin. O Night Divine, the perfect musical for your choir this Christmas! O Night Divine features inspired, new Christmas songs from Kenna West, threaded together by three powerful, well-known songs, such as A Christmas Alleluia, made popular by Chris Tomlin; Ring the Bells, made popular by artists Travis Cottrell and Big Daddy Weave; and Hope Was Born This Night, popularized by Sidewalk Prophets. All of the songs are woven together with threads of a rich narration and the colorful, many-faceted arrangements and orchestrations of Steve W. Mauldin. O Night Divine, the perfect musical for your choir this Christmas!
Song Titles: Ring the Bells * Gloria (Emmanuel has Come) * Carol Hymn Medley (Come, Thou Long-Expected Jesus with O Come, O Come, Emmanuel) * The Time has Come * Have You Heard the News * A Christmas Alleluia * O Night Divine with A Christmas Alleluia * Finale with Hope Was Born This Night and Ring the Bells (Reprise). $25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Worship Songs for Organ Organ [Book] Kevin Mayhew
Composed by Simon Lesley. Arranged by Simon Lesley. For Organ. General collectio...(+)
Composed by Simon Lesley. Arranged by Simon Lesley. For Organ. General collections. Sacred. Beginning-Intermediate. Book. Published by Kevin Mayhew Publishers
$21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Professional Pianist -- Praise Solos for Christmas Piano solo - Advanced Alfred Publishing
40 Advanced Arrangements. Arranged by Carol Tornquist. Book; Piano Collection; P...(+)
40 Advanced Arrangements. Arranged by Carol Tornquist. Book; Piano Collection; Piano Supplemental. The Professional Pianist. Christmas; Contemporary Christian; Sacred; Winter. 140 pages. Published by Alfred Music
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Anthems Old And New For
Sa Men Vol.2 Soprano, Alto, Voix D'Hommes Kevin Mayhew
/ Soprano, Alto, Voix D'Hommes
28.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| John Tavener: The Fool
(Chorus Part): Mixed
Choir: Vocal Score Choral SSATBB [Sheet music] Chester
Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint ...(+)
Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.
3.25 GBP - Sold by Musicroom UK | |
| John Tavener: The
Myrrh-Bearer (Viola
Part): Viola: Part Viola [Sheet music] - Intermediate Chester
This work for viola chorus and percussion was commissioned by the London Sympho...(+)
This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ‘us’ the ‘sins of the world’ from‘stylized dictatorships’ to ‘the frivolous inane escapist vanities of the world ’ the to cries of ‘help’ after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ‘We have no king by Caesar;’ adownright condemnation of God in the Earthly power.In a surreal way the Magdalen’s ‘sin’ shines through in the viola music because she recognises the Godhead and the endless ‘Kyrie eleison’ chanted by the semi-chorusrepresents her repentance and whatever is left of a ‘repentant’ world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen’s recognition of the Risen Christ ‘Rabboni.’The last stroke of the gong in the viola’s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.
14.99 GBP - Sold by Musicroom UK | |
| John Tavener: The
Myrrh-Bearer: Mixed
Choir: Score Choral SATB [Sheet music] - Intermediate/advanced Chester
This work for viola chorus and percussion was commissioned by the London Sympho...(+)
This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ???us??? the ???sins of the world??? from???stylized dictatorships??? to ???the frivolous inane escapist vanities of the world ??? the to cries of ???help??? after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ???We have no king by Caesar;??? adownright condemnation of God in the Earthly power.In a surreal way the Magdalen???s ???sin??? shines through in the viola music because she recognises the Godhead and the endless ???Kyrie eleison??? chanted by the semi-chorusrepresents her repentance and whatever is left of a ???repentant??? world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen???s recognition of the Risen Christ ???Rabboni.???The last stroke of the gong in the viola???s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.
23.99 GBP - Sold by Musicroom UK | |
| 100 Favourite Worship
Songs Piano, Voice Kevin Mayhew 28.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Anthems Old And New Vol.2 Choral SATB Kevin Mayhew 47.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Chris Tomlin: Chris
Tomlin: See the Morning:
Guitar Solo: Instrumental
Album Guitar Hal Leonard
The All Music Guide raves that Tomlin's fourth CD is the one that firmly seals ...(+)
The All Music Guide raves that Tomlin's fourth CD is the one that firmly seals his place as the ultimate innovator in P
13.99 GBP - Sold by Musicroom UK | |
| Chris Tomlin: Chris
Tomlin - See The Morning:
Easy Piano: Instrumental
Album Easy Piano Hal Leonard
The All Music Guides raves that Tomlin's fourth CD is the one that firmly seals...(+)
The All Music Guides raves that Tomlin's fourth CD is the one that firmly seals his place as the ultimate innovator in P
15.99 GBP - Sold by Musicroom UK | |
| Vicki Hancock Wright Mark
Patterson Ruth Elaine
Schram Becki Mayo Lynn
Shaw Shawnee Press
Book/Enhanced CD (with reproducible pages and PDF song charts)-Sing and Celebrat...(+)
Book/Enhanced CD (with reproducible pages and PDF song charts)-Sing and Celebrate 2! provides everything you need for developing younger elementary choirs in your church! Designed for grades K-4 Sing and Celebrate 2! contains a variety of general and seasonal songs for use throughout the church year. Packed with lesson plans teaching resources and rehearsal planning ideas this collection gives you all the tools necessary for building a successful engaging choir program in one value-packed Book/CD! The enhanced StudioTrax CD features accompaniment and performance tracks along with reproducible singers' pages and colorful PDF song charts for projection options! Songs both familiar and new along with fun creative teaching plans willnurture the musical and spiritual growth of your singers to last a lifetime. Songs include: Jesus Loves Even Me (General) Meditation (General) Zacchaeus (General) God Is Always with Me (General) A Thanksgiving Song (Thanksgiving) We Need a Savior (Advent) Ring Out the Bells (Christmas) How Far Is It to Bethlehem? (Christmas) Hosanna In the Highest (Palm Sunday) Jesus Is Alive! (Easter). Also available: the highly popular original Sing and Celebrate! collection (35028238). Don't miss it!
37.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Giovanni Battista
Pergolesi: Glory To God
In The Highest Organ:
SATB: Vocal Choral SATB Schirmer
This setting of the refrain from St. Luke's Gospel ('Glory be to God in the high...(+)
This setting of the refrain from St. Luke's Gospel ('Glory be to God in the highest peace on Earth and goodwill to all men') is intended to be sung at Christmas. It is written for a quartet of soloists and SATB chorus. For this reason and its several tricky high/fast passages it is suitable for a more advanced choir. This version is edited by William Macfarlane.
11.25 GBP - Sold by Musicroom UK | |
| Russian Operatic Arias
For Bass 19Th And 20Th
Century Repertoire Low voice, Piano [Sheet music] Peters
Cette remarquable série ouvre des perspectives passionnantes du répertoire sti...(+)
Cette remarquable série ouvre des perspectives passionnantes du répertoire stimulante et enrichissante pour le chanteur sagace et aventureux. Comme pour les volumes de compagnon Peters de français Operatic Arias, cette série russe présente bon nombre des airs célèbres à juste titre, mais aussi leur juxtapose avec autres gemmes moins familiers, dont undoutedly méritent une reconnaissance plus large. Une grande partie du répertoire sélectionné est parfaitement adaptee aux fins de l'audition, afin que chaque volume est un Trésor pour les chanteurs professionnels et des étudiants. / Voix Et Piano
48.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Craig Curry Paul
Williams: Glory to God in
the Highest: SATB: Vocal
Score Choral SATB [Vocal Score] Fred Bock Music Company
The quick syncopated accompaniment clues you in right away – this is a ve...(+)
The quick syncopated accompaniment clues you in right away – this is a very joyful piece. Craig Curry's music and J. Paul Williams' text enable a brilliant collaboration that results in a high-energy Christmas anthem. Thevocal parts are cleverly written first in 2-part then SAB and finally in SATB – an easily-learned worship or concert number.
14.25 GBP - Sold by Musicroom UK | |
| Johann Christoph
Friedrich Bach: Glory to
God in the Highest: SSA:
Vocal Score Choral 3-part SSA [Vocal Score] Hal Leonard
Ehre Sei Gott in der Höhe-Originally set for voices with cornetts strings and ...(+)
Ehre Sei Gott in der Höhe-Originally set for voices with cornetts strings and continuo as accompaniment this new edition by Patrick Liebergen uses two optional flutes for color. The SSA voicing is a perfect way to introduce your women's choirs to themusic of the Classical period.Available separately: SAB and SSA. Performance Time: Approx. 1:55.
12.50 GBP - Sold by Musicroom UK | |
| Diane Bish Christmas
Organ: Organ:
Instrumental Album Organ Gentry Publications
Selecting music from the baroque classical and romantic periods Diane Bish ha...(+)
Selecting music from the baroque classical and romantic periods Diane Bish has arranged this collection of 20 classical favorites for the organ. Some titles include ?Alleluia? from ?Christmas Oratorio?by Camille Saint-Saens ?Echo Noel? by Louis Claude D'Aquin ?Glory to God in the Highest? by Giovanni Battista Pergolesi and Handel's ?Hallelujah Chorus.? Spiral bound.
25.99 GBP - Sold by Musicroom UK | |
| Almeda Berkey Jackson
Berkey: Glory to God in
the Highest: SATB: Vocal
Score Choral SATB [Vocal Score] Walton Music
Glory to God in the Highest
1.25 GBP - Sold by Musicroom UK | |
| Clowes Bayley: Glory To
God In The Highest: SATB:
Vocal Score Choral SATB [Vocal Score] Novello & Co Ltd.
Glory To God In The Highest
3.25 GBP - Sold by Musicroom UK | |
| Giovanni Battista
Pergolesi: Glory To God
In The Highest: SATB:
Vocal Score Choral SATB SATB, Organ [Vocal Score] Novello & Co Ltd.
Glory To God In The Highest
3.25 GBP - Sold by Musicroom UK | |
| J. Paul Williams Michael
Barrett: Glory to God
Hosanna in the Highest:
SATB: Choral SATB Shawnee Press
This is a utilitarian anthem as it provides both Palm Sunday and Easter texts w...(+)
This is a utilitarian anthem as it provides both Palm Sunday and Easter texts with the option of SAB or SATB voicing. This exuberant shout of praise is quickly learned and the accompaniment/performance track adds a contemporaryelement that will be useful for many congregations. Glory to God Hosanna in the Highest is rhythmic and exciting!
13.75 GBP - Sold by Musicroom UK | |
| Rosephanye Powell: Ogo ni
fun Oluwa!: SATB: Vocal
Score Choral SATB [Vocal Score] Hal Leonard
Glory to God in the Highest-Here is an exuberant celebration of the birth of Chr...(+)
Glory to God in the Highest-Here is an exuberant celebration of the birth of Christ through layered African polyrhythms and call-and-response vocal phrases. The singers encourage the audience to rejoice shout and clap with them making this selection awonderful processional or concert opener. Percussion Yoruba translation and pronunciation are included. Duration: ca. 2:45. Recorded by Baltimore Choral Arts Society Tom Hall conductor courtesy Gothic Records.
13.75 GBP - Sold by Musicroom UK | |
| Russian Operatic Arias
For Baritone 19Th And
20Th Century Repertoire Baritone voice, Piano [Sheet music] Peters
Cette remarquable série ouvre des perspectives passionnantes du répertoire sti...(+)
Cette remarquable série ouvre des perspectives passionnantes du répertoire stimulante et enrichissante pour le chanteur sagace et aventureux. Comme pour les volumes de compagnon Peters de français Operatic Arias, cette série russe présente bon nombre des airs célèbres à juste titre, mais aussi leur juxtapose avec autres gemmes moins familiers, dont undoutedly méritent une reconnaissance plus large. Une grande partie du répertoire sélectionné est parfaitement adaptee aux fins de l'audition, afin que chaque volume est un Trésor pour les chanteurs professionnels et des étudiants. / Voix Et Piano
48.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Don Besig Nancy Price:
Glory Glory!: SATB:
Vocal Score Choral SATB [Vocal Score] Shawnee Press
Alive with joy this toe-tapping original spiritual is easily learned but hard t...(+)
Alive with joy this toe-tapping original spiritual is easily learned but hard to forget. A tuneful approach to the angel song gives your choir a chance to sing along with the praiseworthy affirmation Glory to God in the highest!
13.75 GBP - Sold by Musicroom UK | |
| Rosephanye Powell: Ogo Ni
Fun Oluwa: SSAA: Vocal
Score Choral SSAA [Vocal Score] Hal Leonard
Glory to God in the Highest-Now available for women's voices! Here is an exubera...(+)
Glory to God in the Highest-Now available for women's voices! Here is an exuberant celebration of the birth of Christ through layered African polyrhythms and call-and-response vocal phrases. The singers encourage the audience to rejoice shout and clap withthem making this selection a wonderful processional or concert opener. Percussion Yoruba translation and pronunciation are included. Available separately: SATB SSAA a cappella. Duration: ca. 2:30.
12.50 GBP - Sold by Musicroom UK | |
| Gloria A Dios -: SSA:
Vocal Score Choral 3-part SSA [Sheet music] Hal Leonard
These delightful miniatures are wonderful for concert contest and small ensembl...(+)
These delightful miniatures are wonderful for concert contest and small ensembles. Careful part-writing and attention to range make these a good choice for younger treble groups. Includes: A la puerta del cielo (At the Gate of Heaven) El Señor nació en Belén (The Lord Was Born in Bethlehem) Gloria a Dios en las Alturas (Glory to God in the Highest). Available: SSA a cappella. Performance Time: Approx. 5:35.
12.50 GBP - Sold by Musicroom UK | |
| Peter Rose Anne: The
Peace Of God: Mixed
Choir: Vocal Score [Vocal Score] Rose Conlon Music
The Peace Of God from the series 'Hymns for a Changing World'. Optional harmony ...(+)
The Peace Of God from the series 'Hymns for a Changing World'. Optional harmony part in the chorus.Dedicated to St. Cairell. The Irish missionary St Cairell is thought to have left Iona c.600 AD. Along the route of his journey through the Highlands he established several centres of Christianity one such holy place being Cille Choirill in Brae Lochaber east of Roy Bridge.The highest knoll on this site is Tom Angeal (the Hill of the Angels) an ancient burial ground the final resting place of laity priests and bishops of Lochaber. According to local tradition the first recorded church on the site was built or restored by Ailean nan Creach afifteenth century Cameron chief in atonement for his violent life. Over the centuries the chapel fell into disrepair but in 1932 and again in 1991 it was restored and repaired thanks to the generous funding provided by the descendants of Lochaber people who emigrated to Nova Scotia at the end of the nineteenth century.
1.20 GBP - Sold by Musicroom UK | |
| Keith Getty Kristyn
Getty: Jesus Joy of the
Highest Heaven: SATB:
Vocal Score Choral SATB [Vocal Score] Shawnee Press
(The Children's Carol)-Uses: Christmas Epiphany Scripture: Luke 2:1-7 - Luke 2:...(+)
(The Children's Carol)-Uses: Christmas Epiphany Scripture: Luke 2:1-7 - Luke 2:40 This charming new carol from the creative pens of team Getty is a splendid holiday song. This unique choral teaches us about the miracle of the King of Heaven becoming a little baby. Taking us beyond the manger the child grows and begins his life growing in wisdom and in favor with God and man. Consider this modern carol for the Sundays following Christmas incorporating your children's choir for an effective worship moment. Oboe (or C-instrument) part included. Duration: ca. 3:06.
13.75 GBP - Sold by Musicroom UK | |
| Joyfully We Worship -
Volume 2: SATB: Vocal
Score Choral SATB [Vocal Score] Shawnee Press
Choral responses for all seasons including: Blessed Be the Lord • Christ I...(+)
Choral responses for all seasons including: Blessed Be the Lord • Christ Is Risen • Enter His Gates with Thanksgiving • Glory to God in the Highest • Go in Peace • Hear Us When We Call O Lord • LifeUp Your Heads O Ye Gates • May the Words of My Mouth • O Be Joyful in the Lord • Sing to the Lord a Glad New Song • The Lord Bless You and Keep You • and more.
14.25 GBP - Sold by Musicroom UK | |
| Worship Songs For The
Church Choir Book 2 Choral Kevin Mayhew 17.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Glory To God In The
Highest Divers Theodore Presser Co. 2.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
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