SKU: RM.BROU07719-CO
SKU: AP.6-486176
ISBN 9780486486178. English.
Volume III of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata LXI to Sonata XC. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: WD.080689607233
UPC: 080689607233.
Made Popular by Cory Asbury
Overwhelming. Never-ending. Reckless…descripti ons of the passionate love that God has for us. The God of the universe loved us enough to send His only Son to die in our place. He loves us like no else can or ever will. This new anthem, Reckless Love, made popular by Cory Asbury, arranged by David Wise and orchestrated by David Shipps, is one that will bring great emotion to your next worship service. Lead your congregation into intense worship of the Lord, singing of the Love that left the ninety-nine to find the one; a love so deep that even though we could never deserve it, Christ still gave Himself away…for us.
SKU: PE.0300761775
ISBN 9790300761770.
Long Road is a setting of a love poem by Paulina Barda (widow of the eminent poet Fricis Barda), who died in 1983 at the age of ninety-three; set in the original Latvian, it was Ešenvalds' contribution to Love madrigals, a collection of new commissions to celebrate the twentieth anniversary of the remarkable youth choir Kamer . . . , and this English version was specially made for Stephen Layton and Polyphony, to whom it is dedicated. It has the plain sincerity of a hymn, being homophonic throughout, and its thorough-going diatonicism is straightforward yet lush. At the midway point, a gentle susurration of bell-sounds and ocarinas appears unexpectedly, there is a brief downwards shift of a third, followed by an elated return to the home key, decorated by soloistic descants, before sustained vocalise and a return of the evanescent tinkling ushers the piece to its close. (5:10) Original Item: EP68714-CMPST.
SKU: BA.BA05310
ISBN 9790006497881. 33.1 x 25.9 cm inches.
In the autumn of 1721, when Georg Philipp Telemann became cantor at the Hamburg Johanneum and music director of the city’s five principal churches, he faced the challenge of composing and performing a new Passion setting every year.The ninety-minute St. John Passion of 1745 was written in a winningly clear and transparent style, with two large choral numbers, six chorales (probably joined by the congregation) and several turbae that pose interesting yet manageable demands on the chorus. The plain and unassuming recitatives and the eleven sharply defined yet contemplative arias give soloists broad leeway for artistic interpretation. This volume follows the Urtext of vol. 29 of the Telemann Edition, thereby offering a reliable text at the pinnacle of modern scholarship.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: AP.47270S
UPC: 038081545578. English.
From a standstill, this piece takes off and never lets up. Well . . .maybe just for a brief moment in the pit stop (slow section). But then it's a wild ride to the end. Lots of fun for everyone!
SKU: AP.47270
UPC: 038081545561. English.
SKU: HL.660191
ISBN 9780793516001. UPC: 073999601916. 9x12 inches.
Over 40 classics from blues greats Little Walter, Sonny Boy Williamson, Howlin' Wolf, James Dalton, Elmore James, John Brim, and Lester Davenport complete with an extensive introduction on how to play the pieces in this book. Pieces include: Boom, Boom (Out Go The Lights) * Cool Disposition * Let Your Conscience Be Your Guide * Ice Cream Man * I'm A Man * and many more.
