Largo In Homage to B.A.C.H. was commissioned by the Carmel Bach Festival 2013 and Music Director Paul Goodwin to whom the work is dedicated.COMPOSER NOTE:My very first idea was to use the BACH initials as a basis for the work - not as the melodic motif often used by composers but rather as a harmonic structure. This is possible because in the German musical tradition B stands for B flat and H for B natural. This led to the thought that there would be four short sections each led by a different soloist forming an emotional journey: Lamentoso (mournful) Ardente (fervent) Inquieto (restless) and Sereno (peaceful).TheDouble Bass leads the first section B. Lamentoso (B flat major). The Cello leads the next A. Ardente (A major) faster and higher in pitch to reflect the change of mood and when the Viola soloist urgently interrupts in C. Inquieto (C major) the scene is set for a big climax. In the final section H. Sereno (B minor) the mood persuaded by the Violin soloist quietens and eventually leads to a brief quote from the famous chorale from the St. Matthew Passion O Haupt voll Blut und Wunden which ends the work in calm and peace with a 'tierce de Picardie'.In turn each soloist carries the linear activity as protagonist on this emotional journey and the accompaniment to each section is dominated by the ?tonality? indicated. But there is also a mysterious ?misty? overlay only dissipating after the Viola?s tempestuous climax. The cluster of notes that makes up this ?mist? is formed from the octatonic scale in each case incorporating notes of the triad of the relative section to determine its tonality (B flat major C major etc).Each section therefore uses only the notes of the octatonic scale1 associated with it - until the Viola begins to incorporate a chromatic scale2 - and it is only in the final section that the familiar diatonic scale 3 appears and the mist is dissipated. Therefore although the overall feeling of

Uses: General Scripture: Matthew 8:23-27: Matthew 10:29-31 The care and provision of our gracious and loving God are the spiritual foundations of this arrangement of a gospel evergreen. Made popular by singers such as George Beverly Shea this hymn has long been a favorite of church soloists... and now your choir will enjoy singing this treasure. Each verse is given its own treatment as the words come to life crowned with a rousing crescendo as the vision of heaven comes into view. I trust in God I know He cares for me: On mountain bleak or on the stormy sea: Though billows roll He keeps my soul: My heavenly Father watches over me.

Besides the ?Messiah? ?Theodora? is Handel?s only oratorio with a Christian theme. In contrast to the ?Messiah? ?Theodora? which was composed in 1749 and premiered in 1750 in London takes a dramatic plot as its basis. The setting for the action is Antioch during the time of the Emperor Diocletian.The Christians refuse to take part in the heathen sacrificial cult preferring to die a martyr?s death. The plot concentrates on the virtuous Theodora whom the Roman governor wants to compel to become a heathen sacrificial victim through forced prostitution. The Roman officer Didymus who is in love with ?Theodora? and hasconverted to Christianity through her rescues her from the Temple of Venus at which point both are sentenced to martyrdom by the governor.?Theodora? is regarded as Handel?s most tender oratorio. The Christians? choruses and arias convey muted colours and Theodora?s arias are distinguished particularly through their moderate to slow tempi and their vocal inflection lost in reverie. In dramatic contrast with this are the stirring arias of the governor Valens and the choruses of the heathens who pay homage to their gods Jupiter and Venus. As so often Handel borrowed musical material from other composers which he elaborated into expressive arias and choruses here. In particular the final chorus of the oratorio which is similar to that in Bach?s ?St. Matthew Passion? in terms of expression is referred to in literature again and again. Handel himself felt that ?Theodora? was his most significant work.- First complete critical edition based on the Urtext of the Halle Handel Edition.- Includes all versions.- Full score (BA4085) & vocal score (BA4085-90) available for sale performance material (BA4085-72 available for hire.

With English translation and adaption by Rev. Dr Troutbeck. Vocal Score edited by H.W. Nicholl.

Zart und filigran wirken die feinen Melismen des vertonten Liebesgedichtes, die sich über herbe und archaisch anmutende Klänge erheben. Sie entführen Hörer und Sänger in die schroffe Landschaft Schottlands, der Heimat des Dichters. / Choeur Mixte (SATB) A Cappella

Instrumentation : 1-2 soprano recorders Version : edition with CD Description : Hasn't every recorder player dreamed of playing the most celebrated classical melodies as a soloist? Here you will find the finest pieces in arrangements for one or two descant recorders, with a CD to play along with. On a musical journey of discovery you will encounter many famous compositions, from Eine kleine Nachtmusik and Beethoven's Ode to Joy to the Birdcatcher's song from the Magic Flute and La donna è mobile from Verdi's Rigoletto. So that you can really enjoy making music the arrangements have been recorded in two versions on the CD: with and without recorders. Contenu : A. Vivaldi: Spring (The Four Seasons) - W.A. Mozart: The Birdcather's song (The Magic Flute) - J.S. Bach: O Haupt voll Blut und Wunden (St. Matthew Passion) - W.A. Mozart: Das klinget so herrlich (The Magic Flute) - J. Brahms: Cradle Song Guten Abend, gut Nacht - M.A. Charpentier: Prélude from Te Deum - J. Haydn: Andante from the Symphony No. 94 The Surprise - L.v. Beethoven: Ode to Joy (9. Sinfonie) - C.M.v. Weber: Wir winden dir den Jungfernkranz (Der Freischütz) - G. Verdi: La donna è mobile (Rigoletto) - J. Haydn: Imperial anthem (Emperor Quartet) - G.F. Händel: Ombra mai fù (Largo from Xerxes) - B. Smetana: The Moldau (My Homeland) - G. Bizet: Toréador, en garde! (Carmen) - J. Offenbach: Barcarole (Tales of Hoffmann) - G. Rossini: Overture to The Barber of Sevilla - R. Wagner: Wedding Chorus Treulich geführt (Lohengrin) - G. Verdi: Gefangenenchor Va, pensiero (Nabucco) - W.A. Mozart: Eine kleine Nachtmusik - P.I. Tschaikowsky: Main theme (Schwanensee) - J. Offenbach: Cancan (Orpheus in the Underworld) Date de parution : 17/02/2003 Nombre de pages : 24 Langue : English Format : Parisien portrait

Instrument : 1-2 treble recorders Type : edition with CD Nombre de Pages : 24 Here is the long-awaited volume of popular classical melodies in Magoltâ??s successful series. Now recorder players can also enjoy playing through the best known catchy tunes in classical music for themselves with an orchestral accompaniment on CD. Contents include: Hymn to Joy (Beethoven) - Eine kleine Nachtmusik (Mozart) - The Moldau (Smetana) - the Birdcatcherâ??s Song from the Magic Flute (Mozart) - the Toreadorâ??s song from Carmen (Bizet) - La donna è mobile (Verdi) - Barcarole (Offenbach) and many other well-known melodies. Content : A. Vivaldi: Spring from the Vour Seasons - W.A. Mozart: The Birdcatcher's song from The Magic Flute - J.S. Bach: O Haupt voll Blut und Wunden from the St Matthew Passion - W.A. Mozart: Das klinget so herrlich from The Magic Flute - J. Brahms: Cradle Song - M.-A. Charpentier: Prélude fom Te Deum - J. Haydn: Andante ffrom the Symphony No. 94 - L.v. Beethoven: Ode to Joy from the Ninth Symphony - C.M.v. Weber: Wir winden dir den Jungfernkranz from Der Freischütz - G. Verdi: La donna è mobile from Rigoletto - J. Haydn: Imperial anthem from the Emperor Quartet - G.F. Händel: Ombra mai fù from Xerxes - B. Smetana: The Moldau from My Homeland - G. Bizet: Toréador, en garde! from Carmen - J. Offenbach: Barcarole from Tales of Hoffmann - G. Rossini: Ouverture to The Barber of Seville - R. Wagner: Wedding Chorus Treulich geführt from Lohengrin - G. Verdi: Chorus of the Hebrew Captives Va, pensiero from Nabucco - W.A. Mozart: Eine kleine Nachtmusik - P. Tschaikowsky: Main theme from Swan Lake - J. Offenbach: Cancan from Orpheus in the Underworld

 Musique et globalisation : Une approche critiquesous la direction de Makis Solomos, Joëlle Caullier, Jean-Marc Chouvel, Jean-Paul Olive Le monde a déjà connu par le passé l'expansion considérable de certaines cultures que l'on pourrait être tenté aujourd'hui de nommer ' globalisation ', Le processus qui se fait jour actuellement sur la planète entière est-il du même ordre ou s'en distingue-t-il par des aspects particuliers ?Concernant l'art et, plus particulièrement, la musique, la marchandisation de plus en plus poussée semble parfois justifier la prophétie de la mort de l'art, à moins qu'à cette posture ne soit préférée l'utopie d'un enrichissement de la diversité culturelle, dans la lignée des penseurs du global village, Entre ces deux pôles d'inquiétude et d'espoir, les tendances ne cessent d'osciller,Et qu'en est-il des musiques dites locales ? Certains prédisent leur disparition, alors que d'autres estiment qu'elles savent tirer profit de la globalisation, Telles sont quelques unes des questions posées par le présent livre collectif, qui constitue les actes d'un colloque intitulé Musique et globalisation qui, organisé par la revue Filigrane Musique, esthétique, sciences, société, se déroula à Paris, au Centre de documentation de la musique contemporaine et à la médiathèque de la Cité de la musique en octobre 2008, comme second volet d'un autre colloque portant le même titre (actes de ce second colloque : J, Bouët, M, Solomos (éd,), Musique et globalisation, Regards croisés sur la musique contemporaine et sur l'ethnomusicologie, Paris, L'Harmattan, 2011),SommaireMakis Solomos, Joëlle Caullier, Jean-Marc Chouvel, Jean-Paul OliveIntroductionPhilippe Bouquillion, Jacob MatthewsMutations socio-économiques de la musique enregistrée et diversité des contenusToni GeraciCensure économique et transformation de l'expérience musicale dans la globalisation néolibéraleEtienne BoursMusiques du monde ou marché de l'exotisme ?Marie-Hélène BernardÀ l'écoute de la soie et du bambouBenoît ThiebergienLe transculturel dans la création musicale contemporaineYassen VodenitcharovLes musiques traditionnelles et la mondialisationChristian CorreMusicologie, colonialisme, mondialisationJean-Marie JaconoMusique et dimensions postcoloniales : le cas du rapMartin StokesFour Reflections on Musical GlobalizationFrançois PicardAnnie Ebrel, ou ' une chanteuse traditionnelle bretonne ' ?Fabien LévyLa musique occidentale et ses (ab)-surdités au monde : une autre consonance, venue de BagdadVéronique VerdierLa valeur de la création musicale contemporaine dans le contexte de la globalisationGianfranco VinayDu régime esthétique au régime inesthétiqueLuc Charles-DominiqueSauvegarder aujourd'hui les musiques de tradition orale en FranceGeorges KokkonisLa création musicale savante et les collections des chants populaires en Grèce : découverte ou invention ?Christophe PirenneLa mondialisation multiple des musiques populairesZad MoultakaRésistance de l'oeuvre d'art Collection Filigrane Découvrez les précédents numéros de la Revue Filigrane? / Formation Musicale

Journey Through the Classics Complete est une compilation commode de tous les 98 pièces de Livres 1-4 de cette série populaire.Les morceaux gradués sont présentées dans un ordre progressif et disposent d'une variété de plats classiques essentiel de fondation éducative tout étudiant de piano.Le répertoire authentique est idéale pour les auditions et récitals, et chaque niveau comprend un tableau de référence pratique avec la clé, compositeur, période stylistique, et les éléments énumérés défi pour chaque pièce.Qualité et la valeur de ce volume font un compagnon idéal pour toute méthode classique! / Piano

Cowe, Matt (Arranger) - Farncombe, Tom (Editor). A fantastic pocket-sized collection of Christmas cheer. 84 Christmas songs combining traditional favourites and carols with the big Christmas pop hits by Slade, Wizzard, Bing Crosby and David Bowie, The Darkness, Phil Spector, Mariah Carey, Elvis Presley, Paul McCartney and John Lennon. / Niveau : Facile / Recueil / Guitare