This composition written by William Llewellyn and arranged here for SATB chorus is different from the one normally associated with this carol. However it is still set to Christina Rossetti's haunting poem which depicts the pictoral and human attributes of the Incarnation. The imagery of winter follows the example of Milton’s On the Morning of Christ’s Nativity. It also follows the tradition used by Milton that at Christ’s birth the earth was covered with pure white snow.

Par PART ARVO. The Berlin Mass is intended to be sung liturgically during Pentecost, and includes the Veni Sancte Spiritus specific to that service. The gently unfolding repetition deliberately avoids dramatic and pictorial elements, exuding quiet dignity and a profound sense of joy. The vocal scores have almost no interpretive markings. Dynamics and tempi are left to the performers; it is their task to experience and communicate the rich spiritual possibilities offered in the music. The work is devout and transparent. For the willing listener, it can be a clear window into the soul. (Richard Brown) The Berlin Mass was given its first performance (by Theatre of Voices) at the Catholic Days in Berlin during May 1990. The occasion was a celebration of Mass, and the music, scored for four singers and organ, had a strictly liturgical function. Pärt subsequently decided to orchestrate the work for strings and chorus, and also made many changes to details of the composition, most substantially to the accompaniment of the Sanctus. (Paul Hillier)/ Répertoire / Chœur Mixte [SATB] et Orchestre à Cordes

Kantate Zum 2. Weihnachtstag. Par TELEMANN GEORG PHILIPP. Two straightforward four-part choral movements frame three solo movements. The tonal language of this easily performable work, taken from a cantata publication of 1748, combines baroque pictorial quality and playfulness with rococo grace and sensitivity. / Date parution : 1991-09-01/ Répertoire / Solo S, Choeur SATB, 2 Violons, Alto et Basse Cont

Par PART ARVO. The Berlin Mass is intended to be sung liturgically during Pentecost, and includes the Veni Sancte Spiritus specific to that service. The gently unfolding repetition deliberately avoids dramatic and pictorial elements, exuding quiet dignity and a profound sense of joy. The vocal scores have almost no interpretive markings. Dynamics and tempi are left to the performers; it is their task to experience and communicate the rich spiritual possibilities offered in the music. The work is devout and transparent. For the willing listener, it can be a clear window into the soul. (Richard Brown) The Berlin Mass was given its first performance (by Theatre of Voices) at the Catholic Days in Berlin during May 1990. The occasion was a celebration of Mass, and the music, scored for four singers and organ, had a strictly liturgical function. Pärt subsequently decided to orchestrate the work for strings and chorus, and also made many changes to details of the composition, most substantially to the accompaniment of the Sanctus. (Paul Hillier) / Musique contemporaine / Répertoire / Chœur Mixte SATB ou Solistes et Orgue

The title Marchenbilder or Fairy-tale Pictures borrowed from Schumann awakens notions of music which in itself has a pictorial quality. In all the score comprises six Fairytale Pictures the first three of which form the first movement the next two the second whilst the sixth forms the last movement which is linked with the second without a break. The first two pictures have the same duration - one minute each - whilst the remainder hesitantly inerease in length until the final picture is almost five minutes long.For 14 instruments.

Par ZUBEL AGATA. The musical axis of the opera Bildbeschreibung consists of the relations between the soloistically treated instruments, the parts of which are based on the realisation by the performers of layers of sound ? understood not just as the exploration of their own instrument, but above all the presentation or representation in sound of the text. Each of the parts forges an area of ?pictorial description?, so it is designed to lead the listener to ask what came before and how this came about. The multiplicity and ambiguity of such speculation gives us an open catalogue of representa-tions. As it is open, it is impossible to indicate the number of associations that would be appropriate ? too few or too many. Quite simply, the greater whole perceived from the perspective of a single soloist or through the prism of a single aria entitles us to highlight the idea of Bildbeschreibung in the same way that we can begin to see or analyse any picture, starting with a single detail, motif or figure. So such an aria is not an excerpt like the hits from the history of classical opera. It is a lens that ? as occurs throughout the opera Bildbeschreibung ? focusses attention on a selected detail, and the soloists themselves, without the comfort of showing themselves against the background of the whole event, are tempted from the outset to divine the origins of Bildbeschreibung. / Date parution : 2022-12-12/ Répertoire / Trompette

Par ERSKINE PETER. The sixth installment in the Modern Drummer Legends series contains 80 pages of extensive and in-depth interviews, exclusive Erskine recordings, pictorials of Weather Report, Peter and Friends, the early years, Peter's analysis and insights on 40 pages of drum transcriptions, and a great digital download component. / Date parution : 2022-01-14/ Recueil / Batterie

Par SCULTHORPE PETER. John Rockwell of The New York Times says 'Lush and pictorial, it consisted of sharply defined sections that courted the charge of mere exoticism - evocations of Oriental musics and sounds, full of throbbing strings, rapidly reiterated percussion and all manner of aural colour presumably inspired by alien cultures. But Mr Sculthorpe is no simple-minded purloiner of sonic artifacts - his piece coheres into a statement by a distinctive composer with something interesting and evocative to say.' 10 June 1984 / Niveau : Assez Facile / Répertoire / Conducteur

Baritone solo or small group; expressive a cappella arrangement of a traditional spiritualFrom the Mark Foster catalog here is an especially pictorial and dramatic spiritual for Holy Week. Craig Westendorf has chosen anexpressive melody to recall Christ's concern for His mother. It is direct and powerful without sentimentality. Sung a cappella with baritone soloist the repetitive use of the word “nailin'” beneath the second verse isparticularly effective. “Take My Mother Home” could be used within the context of the passion reading by liturgical churches and is also suitable for Lent or Holy Week. All congregations will find this poignant andunique anthem to be a dramatic and moving addition to worship.

Kantate Zum 2. Weihnachtstag. Par TELEMANN GEORG PHILIPP. Two straightforward four-part choral movements frame three solo movements. The tonal language of this easily performable work, taken from a cantata publication of 1748, combines baroque pictorial quality and playfulness with rococo grace and sensitivity. / Date parution : 1989-02-01/ Répertoire / Solo S, Choeur SATB, 2 Violons, Alto et Basse Cont

Par DICKBAUER KLAUS / GASSELSBERGER MARTIN. To play, learn and immerse yourself in – My Song Diary contains twelve easy to moderately difficult songs for trumpet, which capture atmospheric moments as solos with a play-along CD or as duets with piano. With pictorial titles, the two authors take you on a musical journey between reality and fantasy, sometimes mysterious and fragile, sometimes joyful and impulsive – as if opening a diary and diving into episodes with the texts found in it. The jazzy songs leave room for improvisations, which are aurally inspired by the enclosed CD. The sheet music is available as a file for interpretation with piano, which can also be downloaded from the publisher‘s website. The piano part can be purchased as a separate edition (UE 38046). / Date parution : 2022-09-08/ Recueil / Trompette

Par CASABLANCAS BENET. Shade and Darkness, lasting some 12:30 minutes, was co-commissioned by the Centro Nacional de Difusión Musical and the Festival Internacional de Música y Danza de Granada. The work is inspired by Turner's famous painting of the same name, subtitled 'The Night Before the Flood', although this does not imply any programmatic or even less descriptive intention, beyond the composer's admiration for the painter, and for the richness of tones and chiaroscuro, subtlety in the treatment of pictorial matter, and the dynamism and emotional force present in his work, to whose depth John Ruskin alludes: 'Nuance is in Turner, first of all, a beautiful aid to the great impression to be conveyed, but it is neither the source nor the essence of that impression; it is little more than a visible melody... preparing the feelings for the reading of the mysteries of God.' The score, generous in expressive contrasts, explores the ductility and richness of possibilities of the strings, with a very diversified use of textures, densities and colours. The formal arrangement describes a wide ternary arc, consisting of two slow and often static sections - not without ominous foreboding - and a more lively central part, punctuated by occasional turbulence and dazzling flashes of timbre, culminating in a powerful climactic process. In the final bars the four voices of the classical quartet fleetingly emerge, as a tribute to Günter Pichler, founder and member of the Alban Berg Quartet, to whom the score is dedicated, and who conducted the premiere of the work in front of the Joven Orquesta Nacional de España on 24 and 25 June 2014 at the Auditorio Nacional de Música in Madrid and in the Patio de los Mármoles del Hospital Real in Granada. / Date parution : 2022-03-15/ Répertoire / Petit Orchestre

Symphonic Observations About Albrecht Dürer'S Apocalypse. Par MAINTZ PHILIPP. The doomsday visions of Albrecht Dürer's woodcut series 'Apocalypse with Pictures” have inspired many composers to create musical representations of the pictured events. With 'septimus angelus', Philipp Maintz follows in this tradition. However he abandons the pattern of a primarily pictorial reinterpretation of these artworks, concentrating instead on the wealth of their structural mysteries. In the Foreword of the score, organist Bernhard Buttmann writes: 'Both the organist and the audience are seen as subjects of the musical happening and become its focal point. Just as Dürer's richness of detail will only reveal itself after lengthy, meditative observation, Philipp Maintz' 'septimus angelus” requires an unbiased, open-minded, and perpetually fresh listening process that should correspond to a colorful interpretation with an openness to new sound experiments. The performer faces the challenging task of incorporating a wealth of precious details into the musical development as a whole, while offering ever-changing ways of musical illumination from multiple perspectives.” / Date parution : 2019-08-30/ Répertoire / Orgue

Spielbuch 3: Spielst?cke f?r Sopranblockfl?te solo vom Mittelalter bis zur Gegenwart-The recorder is one of the oldest of all human instruments. In ancient times it crops up in sagas and pictorial evidence and it has accompanied Western music right up to the avant-garde. For many children and young people today the soprano recorder in c? is a popular starting instrument but if you stay on there is also more challenging literature for advanced players. Play-Book 3 from the The Recorder - series offers a selection of medium-hard to advanced musical examples from the middle ages to the present day which goes far beyond music school teaching but can just as well be used for full-scale concert performances. Advanced recorder players should havegood command of the range from c? to d?? though.