Trio Of Praise

Three Choral Songs Of Praise is a trio of songs by composer Eric Thiman scored for SATB chorus. The songs are O Praise God In His Holiness I Praised The Earth and Morning Hymn.

Cantata for the 15th Sunday after Trinity - BWV 51 - C major. Par BACH JOHANN SEBASTIAN. The original occasion for the composition of Cantata BWV 51 is not known. The unusual festive scoring with trumpet and solo soprano, and the virtuoso demands of these parts seem to indicate a special occasion, such as New Year, a town council election or the birthday of a prominent person. Bach only added the liturgical designation of the 15th Sunday after Trinity to the titlepage of his score later. The text is directed to the praise of God and thanks for the goodness he has shown, combined with a plea for support in the future. The chorale verse “Sei Lob und Preis mit Ehren” is not a typically straightforward four-part setting, but is incorporated into an instrumental trio movement. Together with the following “Alleluja”, it forms a brilliant concertante conclusion to the work.New, revised edition. / Date parution : 2023-06-01/ Répertoire / Soprano et Ensemble de Chambre

Ce premier livre de solos comprend des chansons folkloriques préférés, des arrangements classiques, des hymnes, des chants de Noël et des chansons patriotiques. Ecrit sur le grand personnel, des mélodies pour les morceaux sont divisés entre les mains. Toutes les pièces comprennent une partie en duo optionnel pour les parents ou les enseignants. Si les élèves ne sont pas familiers avec la notation rythmique, les rythmes peuvent être rapidement appuyés par coeur. Les étudiants peuvent commencer à jouer favoris après seulement quelques semaines de l'étude. / Piano

Worship Hymns for Organ and Brass-Worship Hymns for Organ and Brass is a series with remarkable versatility. The arrangements are for organ with solo trumpet or brass ensemble and percussion. All parts are upper intermediate level with optional high notes for trumpets and horn. While the parts are not demanding they have a level of artistry that is compelling to all of the performers involved. Instrumental options with organ include: solo trumpet brass trio (2 trumpets and 1st trombone) brass quartet (2 trumpets and 2 trombones OR 1st trombone and tuba) brass quintet (All but horn 2nd trombone or tuba) and brass sextet. Versatile and regal perfect for the most triumphant season of the year.

Three Sketches for Flute Violin and Piano were written circa 1936. They are subtitled In The Woods - The Lake At Sunset - The Merry-Go-Round. The collection is dedicated to Joseph Slater aBritish flautist who made regular performances and broadcasts from 1922 to 1951 including numerous radio performances while simultaneously serving in the Army during the Second World War.Muriel Talbot Hodge wasone of the most popular composers of English chamber music in the years between the two world wars the time often seen as the ?last hurrah? for the genre. Her music was praised at the time for its exquisite and intimate nature displaying an ?unusual charm and substance?.

Fifty Solos, Duets, Trios and Quartets. Par PURCELL HENRY. Fifty Solos, Duets, Trios And Quartets/ Répertoire / 1 à 4 Flûtes à Bec

A lifelong resident of Paris Gounod can hold a claim to being the most important figure in late 19th century French music on account of his influence on later composers. Studying at the Paris Conservatoire Gounod left in 1839 to travel through Europe initially to Rome but then on through Austria and Germany. He was profoundly struck by the music he heard at the Sistine Chapel and by the German musical tradition and upon his return was uniquely cosmopolitan in his influences among Parisian musical society. His early works consisted largely of liturgical settings that earned him some praise but his work in the area in which he is most remembered namely opera took time to be recognised. His first two operas Sapho (1851) and La Nonne sanglante (1854) drawing heavily on Gluck and Meyerbeer respectively did not attract great attention. However his subsequent works including seven staged operas between 1855 and 1865 were increasingly well-received none more so than his masterpiece Faust (1859). Two further successes Mireille (1864) and Roméo et Juliette (1867) were premiered at the Théâtre Lyrique and inspired by the voice of Marie Miolan-Carvalho the singer who had created Marguerite in Faust. Roméo et Juliette with a libretto faithful to Shakespeare by Barbier and Carré who had provided texts for some of Gounod’s earlier works is inescapably full of love music but is by turns as wistful and cheerful as any in Gounod’s operatic output. Based upon the 1876 published version of the opera the edition includes: • Original version of N° 1 Introduction including Si mon coeur encore sommeille • Ariette N° 3 (Je veux vivre) in both F and G majors. • Three possible endings for Act 1 including Il nous échappe! • Cavatine N° 7 (L’amour! Oui! Son ardeur a troublé) in both B and B flat majors. • Original version of N° 11 Trio et quatuor (Dieu qui fis l’homme à ton image!) • Choeur et danse N° 19 (Frappez l’air)

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Flute-This uniquely flexible collection works great for solos duets trios quartets quintets sextets and more! Each arrangement can be performed unaccompanied or accompanied using the fully orchestrated StudioTrax CD or pianoaccompaniment book. Mix and match instrumentation according to your needs in any given situation all year long in a variety of settings: worship services Sunday School or at home. Stan Pethel's signature style of accessible fresh arrangements shines through in each hymn making Winds of Worship an essential addition to your library for the advanced or beginning player alike.Contents: Immortal Invisible ? Take My Life and Let It Be? Joyful Joyful We Adore Thee ? Near to the Heart of God ? Praise the Lord Who Reigns Above ? Love Lifted Me ? Like a River Glorious ? I Will Sing of the Mercies ? Savior Like a Shepherd LeadUs ? Higher Ground ? My Jesus I Love Thee ? and He's Got the Whole World in His Hands.

This year celebrate our national holidays by programming this splendid montage of American hymns. “When I Can Read My Title Clear ” “I Know That My Redeemer Lives ” and the beloved “I WillArise” make up this trio of praises and the general nature of these early hymns make programming a breeze for any time of the year. An extraction from the commemorative cantata Legacy of Faith.

Robert Saxton's Hortus Musicae Book 1 was commissioned by Ian Richie for the 2013 City of London Festival with funds provided by the John S. Cohen Foundation. The first performance was given by Clare Hammond on June 24th 2013 at the church of St Mary Le Bow. The title less 'literal' in Latin than in the vernacular refers to the idea of an allegorical/metaphysical garden (reference to a 'real' or existing garden might be implied by Hortus Musicus) with various facets. The titles of the individual pieces/movements with their respective garden image are as follows: 1) Hortus Somniorum: afleeting vision of a 'magical' garden 2) Hortus Temporis: a reflection of/on the floral clock described by Andrew Marvell (1621-1678) in his [metaphysical] poem The Garden: How well the skilful gardener drewOf flowers and herbs this dial newWhere from above the milder sunDoes through a fragrant zodiac run;And as it works the industrious beeComputes its time as well as we.How could such sweet and wholesome hoursBe reckoned but with herbs and flowers! 3) Hortus Cantus: A garden in which nature 'sings' (praises) in the manner of a 'chorale prelude' and ending with the cantus firmus transformed into bells. 4) Hortus Infinitatis: A meditative/formal garden representing Time suspended in the form of a palindromic prolation canon combined with a harmonic ground (chaconne). 5) Saltatio Hortensis: A (summer) garden of dancing celebratory nature. Its essence (and that of the entire cycle both metaphorically and structurally/formally) is summed up in words spoken by Miranda in WH Auden's 1944 Tempest [Shakespeare]-inspired poem The Sea And The Mirror;So to remember our changing garden weAre linked as children in a circle dancing. Duration: 15