Dans le début des années 1700, des chorals de Bach enchanté les auditeurs avec leurs harmonies inventives, le chromatisme, le mouvement contrapuntique, et les changements de centre tonal. Depuis ce temps, les étudiants en musique du monde entier ont étudié les chorals comme un parangon de 'pratique courante' l'harmonie et la voix principale. Et en vertu de leur beauté sublime, les musiciens continuent à effectuer les chorals à ce jour. La texture en quatre parties des chorals peut rendre leur performance à la guitare - avec ses limites de doigté - quelque peu problématique. Mais parfois, par l'amincissement de la texture à trois ou deux parties et, parfois, inverser les parties inférieures (permettant à l'alto ou ténor pour servir temporairement de la basse), nous avons créé des solos de guitare facile à jouer classiques qui capturent tout l'intérêt et beauté de compostitions originale de Bach. / Guitare

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.

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.

The All Music Guides raves that Tomlin's fourth CD is the one that firmly seals his place as the ultimate innovator in PandW music. Our songbook features easy arrangements for all 11 songs: Amazing Grace (My Chains Are Gone) - Everlasting God - Glorious - Let God Arise - Made to Worship - Rejoice - Uncreated One - more.

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.

Edition no.: BA10039-90ISMN: 9790006541447Editor: Dürr, Alfred / Freeman, Robert / Webster, JamesArranger: Eichhorn, JoachimLanguage(s) of work: German, EnglishLanguage(s) of text: German, EnglishProduct format: Piano reduction, Urtext editionBinding: StapledPages / Format: IV, 50 Seiten - 27,0 x 19,0 cm This cantata for the First Sunday after Trinity, first performed in 1726, is one of the most musically attractive compositions composed by Bach during his time as cantor at St. Thomas Church, Leipzig.In its alternating scoring for oboes, recorders and strings, the opulently-structured opening chorus describes the gesture of the breaking of bread. The arias and recitatives for the two soloists, alto and tenor show Bach at the peak of his compositional powers. The two-part cantata concludes with a simple chorus.- Urtext edition based on the New Bach Edition- Richly coloured scoring using recorders and oboes- Vocal score (Ger/Eng), foreword (Ger/Eng)1. Vorwort 2. Preface 3. 1. (Chorus) Break with hungry men thy bread 4. 2. Recitativo (Basso): The bounteous God 5. 3. Aria (Alto): One's creator while on earth yet 6. Second part: 7. 4. (Basso) To do good and share your blessings 8. 5. Aria (Soprano): Highest, my possessions 9. 6. Recitativo (Alto): How shall I then, O Lord 10. 7. Choral: Blessed those who through compassion

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.

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.

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!

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

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.