SKU: CA.5526014
ISBN 9790007310967. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. The King shall rejoice was probably played during the crowning of the king in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5526049
ISBN 9790007252083. English.
SKU: CA.5525814
ISBN 9790007311025. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Zadok the priest was performed for the anointing of the new King and more recently for the coronation of Charles III in 2023.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5525914
ISBN 9790007311100. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Let thy hand be strengthened was probably performed at the beginning of the coronation ceremony in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5525800
ISBN 9790007251970. English.
SKU: CA.5526005
ISBN 9790007252076. English.
SKU: CA.5525905
ISBN 9790007252038. English.
SKU: CA.5526100
ISBN 9790007252090. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5526009
ISBN 9790007311117. English.
SKU: CA.5525803
ISBN 9790007251987. English.
SKU: CA.5526105
ISBN 9790007252113. English.
SKU: CA.5525909
ISBN 9790007310905. English.
SKU: CA.5525809
ISBN 9790007311049. English.
SKU: CF.SPS93
ISBN 9781491159774. UPC: 680160918362.
Adver sity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances. For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn't know, or perhaps challenged us to grow in a way we didn't think possible. Either way, it does not happen unless we possess resilience. I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.Adversity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances.For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn’t know, or perhaps challenged us to grow in a way we didn’t think possible. Either way, it does not happen unless we possess resilience.I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.
SKU: HL.50601044
ISBN 9788881920075. UPC: 888680723804. 7.75x10.5 inches.
This Marian antiphon survives in autograph score among the manuscripts once in Vivaldi's possession, today preserved in the Biblioteca Nazionale Universitaria di Torino. It was evidently originally a four-movement work composed, possibly in 1726, for the Ospedale della Pietà in Venice, but the openingtwo movements, which must have occupied one or more separate gatherings, are lost. In these circumstances, a reconstruction of the complete work is not a worthwhile proposition, and the edition is therefore presented as a fragment. Its vocal part was notated by Vivaldi in the tenor clef, which was used at the Pietà by a number of singers among the figlie di coro who, in today's terms, would be classified as “low (or second) contraltos”. The score is of particular interest for featuring two parts named “Trombe” that are almost certainly not for brass instruments but for “violini in tromba marina”: specially adapted violins with only three strings anda distinctive bridge designed to mimic the raucous, rattling sound of a tromba marina.
SKU: LP.765762228207
UPC: 765762228207.
Offer victorious hope in difficult circumstances through this encouraging piece written by Regi Stone and David T. Clydesdale. With the majestic and powerful musicianship that Clydesdale has become known for the arrangement and orchestration of this anthem featuring a male soloist and adult choir fits perfectly with the powerful reminder of the promise that God will carry us through wherever He leads.
SKU: AP.1-ADV11400
ISBN 9783892210610. UPC: 805095114003. English.
Contempora ry Harmony: Romanticism Through the Twelve-Tone Row is by Ludmila Ulehla. The understanding of the musical techniques of composition cannot be reduced to a handbook of simplified rules. Music is complex and ever changing. It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.
SKU: YM.GTW01097546
ISBN 9784636975468.
New Sounds in Concert Band Series (NSB) Duration: approx.4'30 Arranged by Hideaki Miura.
SKU: CA.1037308
ISBN 9790007190736. Language: German.
The cantata is an example of the striving toward reform at the end of 19th century to give choir and congregational singing more importance in worship services, even under modest circumstances. Therefore, Ludwig Meinardus did without the participation of soloists and made due with the organ as the accompanying instrument. The antiphonal singing between the choir and congregation holds a central place in this work. The cantata may be performed as a whole, but, in accordance with the conception of the composer it can also be performed within the context of a liturgical service. Score and part available separately - see item CA.1037300.
SKU: BR.EB-32083
With supplementary violoncello part marked by Maria Kliegel
ISBN 9790004186299. 9 x 12 inches.
There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.With supplementary violoncello part marked by Maria Kliegel.
SKU: HL.48023998
ISBN 9781784542108. 12.0x9.0x0.4 inches.
Scored for baritone (or tenor) solo, mixed choir and orchestra, this work was composed in 1936-37, and sets a utopian and pacifist poem by John Addington Symonds (1840-93): Say, heart, what will the future bring / To happier men when we are gone... This edition is the latest addition to Boosey & Hawkess series of organ reductions of choral/orchestral scores (Finzis Requiem da Camera, For St Cecilia, In terra pax). The reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Faure and Durufle. athetically recreat The Reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance.
SKU: CA.2718712
ISBN 9790007303549. Latin.
As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s Å“uvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts.
SKU: AP.36-A208602
UPC: 659359880650. English.
Johann Strauss, Jr. (1825-1899) wrote the KAISER-WALZER, Op. 437 (EMPEROR WALTZES) to celebrate the toast of friendship that Franz Joseph I extended when he visited Wilhelm II in 1889. Fritz Simrock, his publisher, diplomatically suggested the name of the waltz so that it could be attributed to either emperor, depending on the circumstances of each performance. Originally titled HAND IN HAND, its first performance took place on October 21 of that year in Berlin. In character with the affluent nature of its subjects, the EMPEROR WALTZ sways with pomposity and grandeur. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set). Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.48025144
UPC: 196288096030.
Ukrai nian Sketches, written in 1941, is the last surviving work by the Polish-Ukrainian composer Józef Koffler. Originally a follower of the Second Viennese School, Koffler, himself a professor and functionary in Soviet Ukraine, had to change his style in the face of enormous political pressure. Despite the harsh circumstances, these six miniatures for string quartet are free of all kitsch of 'socialist realism' and radiate an independent expressiveness and immediate lyricism in the interweaving of Eastern European folklore and the classical string quartet tradition.
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SKU: GI.G-9124
ISBN 9781622771745. English.
Need to adapt an SATB work for your small SAB choir? Have sopranos who can’t sing divisi…but know a great trumpet player who is happy to help out? Need to simplify a viola part for a beginner? In straightforward, step-by-step fashion, authors Blake Henson and Gerald Custer show how to take a piece of existing music and craft a workable, polished arrangement that meets the needs of your ensemble in the real world. Arranging: A Beginner’s Guide is full of ideas, examples, and exercises to try out and adapt, grounded in the belief that arranging is not only a necessary skill, it is one that is relatively easy to learn and master. This book is written for conductors, church musicians, teachers, and students at all levels. Learn how to: • reconfigure a piece to fit your choral circumstances • translate your ideas into practical, performable music • turn a solo song into a choral piece • write a descant • transform a piano part into an arrangement for band or strings • extend a hymn into an anthem with introduction, interludes, and coda • create within copyright law With numerous examples and helpful tips—plus humor and insight—this engaging and practical workbook is designed to make the arranging process simple and fun. “We are generally familiar with an endless supply of songs and sounds. However, as performers and as listeners, we need ways of experiencing this information and inspiration in fresh and new ways for insight, understanding, and sometimes for the important and practical reasons of accessibility. This is at the core of Arranging: A Beginner’s Guide: Step-by Step Instructions and Exercises, and the tools we need to approach informed creativity are systematically outlined in this comprehensive guide to arranging.†—Tim Sharp, Executive Director American Choral Directors Association Sought after for his choral, solo vocal, and orchestral work, Blake Henson has received numerous commissions from choral and instrumental ensembles of all kinds. Dr. Henson is an experienced and popular teacher of theory and composition. A Grammy-nominated, award-winning composer and arranger with more than 95 works in print and two CDs, Jerry Custer teaches music theory and composition at Wayne State University in Detroit. Also by Blake Henson and Jerry Custer, available from GIA Publications, Inc.: From Words to Music: A User’s Guide to Text for Choral Musicians (G-8728) and The Composer’s Craft: A Practical Guide for Students and Teachers (G-8533).
SKU: HL.49015565
ISBN 9781423421047. 9.0x12.0x0.079 inches.
'I have always had a great fondness for the works by Schumann', Aribert Reimann once said. There exists a close relationship even beyond the music: As owner of Schumann's medical records from the mental asylum in Endenich, Reimann guarded the secret of the circumstances surrounding Schumann's last weeks and death.When the musical world celebrated Reimann's 70th birthday and commemorated the 150th anniversary of Schumann's death in 2006, Reimann decided to publish the records and comment on them in his book 'Robert Schumann in Endenich' (ED 9870).This book was presented to the public on 5 May 2006 at the Schumann Festival in Dusseldorf. For this occasion, as a musical bow to Schumann, Reimann composed the string quartet Adagio which the Heine Quartet premiered. Adagio is based on both Schumann's Endenich chorales 'Wenn mein Stundlein vorhanden ist' and 'Stark und Mittler, dein sind wir'.
SKU: CA.2718741
Latin.
SKU: HL.14010207
ISBN 9780711924925. UPC: 196288152422. 9.0x12.0x0.306 inches.
Elias: I first came across Irina Ratushinskaya's poetry when the collection 'No, I'm Not Afraid' was published in England in early May 1986. The poems, the various circumstances in which they were written and the poet's integrity, commitment and appalling situation (she was still imprisoned) all had a tremendous impact upon me. I was drawn inexorably into the world she describes so vividly. The powerful imagery of resistance, the acceptance of shattering realities and the fantasies of different kinds of escape made poetry of truly universal significance and urgency, and the idea of a setting for voice and large orchestra followed immediately. Each of the settings (in Russian) is self-contained and quite different in mood and orchestration. However, I consider the songs as one piece, and the whole cycle is performed without a break. All the basic musical material, themes and motifs for the entire work are stated in the first few pages, and the order of the poems was chosen to provide an overall musical and dramatic shape that attempts to link them together and to reflect more than the immediate meaning of the individual poems.
SKU: SU.80101260
These three brief motets are composed for 2-part men's voices (with no divisi) and are very useful for circumstances where only small choral forces are available. They may also be performed as vocal duets. The texts are drawn from the Bible: Psalm 46:4, 7; Jeremiah 17:10, 7, 8; and Psalm 105:1-3. Published by Zimbel Press. Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusi c.com (include the organization name with your request). To order quantities fewer than 8, please please write to sales@subitomusic.com.
SKU: GI.G-8651
ISBN 9781622770656.
Visi t 2013 Midwest Clinic Page 2013 marks the 20th anniversary of the passing of Dizzy Gillespie, a master entertainer and one of the greatest jazz musicians of all time. This book celebrates the relationship and influence Dizzy had with Arturo and his family. Through amazing photographs and stories, this book tracks the remarkable story of how the two met in Cuba during a very restrictive period and the eventual role Dizzy would play in Arturo’s flight to freedom. It also recounts the modest start and parallels that exist between the two musicians as well as their career developments. Throughout his career Dizzy Gillespie faced a huge challenge to achieve success as a black man born in the South with limited education. He endured the hardship of the Great Depression as well as the humiliation and restrictions of the deep-rooted racism and segregation of the time. Decades later, Arturo Sandoval suffered his own bonds of tyranny when he was forbidden the freedom to perform the music he loved. While serving his three years of obligatory military service in Cuba, he was jailed for three months for listening to the “Voice of America†program hosted by Willis Conover on a short wave radio. Both Dizzy and Arturo were angered and demoralized by their individual circumstances, yet both found ways to persevere no matter the political or social consequences of the times. One does not have to look far to realize the level of affection that quickly grew between Dizzy Gillespie and Arturo Sandoval. Their relationship was not only one of mentor-proteÌgeÌ, but also a father-son type of kinship. Dizzy never had a son until he met Arturo. In Arturo’s words, were it not for Dizzy “ maybe I would have ended up in jail, or worse, because nothing good could have happened to me if I stayed there.†One of Dizzy’s greatest achievements and contributions to music was not only the discovery, but the encouragement and promotion of Arturo Sandoval. Arturo Sandoval's life was the subject of the film For Love or Country.
