Faith Be Made Complete

SKU: BT.DHP-1064014-020

9x12 inches. English-German.

The French composer Louis Bourgeois lived from c.1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti.

De melodieën van de France componist Louis Bourgeois (ca. 1510-1560) zijn heel geschikt voor volkszang - zo ook de hymne ST Michael. Niet voor niets is deze melodie gebruikt voor vele liedteksten voor uiteenlopende gelegenheden. JohnBlanken maakte dit arrangement voor een trouwdienst, een gelegenheid waarbij vertrouwen een grote rol speelt, vandaar de titelHymn of Faith. Het arrangement herbergt vier vrezen. Na een majestueuze opening volgt de hymnetwee keer, waarbij het tweede vers wordt omgespeeld in het tenorregister. Na een kort tussenspel volgt vers drie in een zetting voor kwartet. De opening wordt herhaald als modulatie naar het vierde vers, waarmee het werk in eenstralend tutti afsluit.

Der Komponist, Kantor und Pädagoge Louis Bourgeois lebte im 16. Jahrhundert in Genf und komponierte Psalm- und Kirchenliedmelodien, die sich besonders gut für den Gemeindegesang eigneten. Die vorliegende Bearbeitung einer seiner Melodien schrieb John Blanken für eine Hochzeitszeremonie - ein Anlass, bei dem Glaube und Vertrauen eine große Rolle spielen: Daher der Titel Hymn of Faith. Ein wunderbares Stück ernste“ Musik, das zu vielen Gelegenheiten passt.

SKU: BT.DHP-1064014-130

9x12 inches. English-German-Dutch.

The French composer Louis Bourgeois lived from c.1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti.

Der Komponist, Kantor und Pädagoge Louis Bourgeois lebte im 16. Jahrhundert in Genf und komponierte Psalm- und Kirchenliedmelodien, die sich besonders gut für den Gemeindegesang eigneten. Die vorliegende Bearbeitung einer seiner Melodien schrieb John Blanken für eine Hochzeitszeremonie - ein Anlass, bei dem Glaube und Vertrauen eine große Rolle spielen: Daher der Titel Hymn of Faith. Ein wunderbares Stück ernste“ Musik, das zu vielen Gelegenheiten passt.

SKU: HP.1755

UPC: 763628117559.

As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).

SKU: HL.121368

UPC: 884088922719. 5.75x5 inches. Andre Castillo/Edwin M. Willmington.

Composed and arranged for the retirement of Fuller Seminary president, Richard J. Mouw, this choral anthem introduces a beautiful new hymn tune in an expansive and exciting setting. Don't miss this piece for your church or community choir!

SKU: AP.36-A231301

ISBN 9798892704137. UPC: 659359794230. English.

Wolfgang Amadeus Mozart (1756-1791) wrote the music to COSI FAN TUTTE (So do they all), his third collaboration with librettist Lorenzo da Ponte, only after his contemporaty Antonio Salieri rejected the initial commission. Its first performance took place on January 26, 1790 at the Burgtheater in Vienna, Austria. Despite the strained credibility of the story, in which two men undertake a dare to deceive their lovers through feeble disguise and pretence in order to prove their faithfulness, Mozart enriched its characters with emotional depth, motivation, and humor. Though it took longer to achieve popularity than the other da Ponte operas, by the middle of the twentieth century, Cosi fan tutte had become a staple in opera houses all over the world. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (4-4-3-3-3 in set): Vocal soli (6 roles: SSSTBB): Mixed Chorus.

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.49041045

ISBN 9783795794453. 10.25x13.25x1.07 inches.

Petr Iljitsch Tschaikowsky, whom Igor Stravinsky charakterized as being 'deeply national', represents the culmination of 'Russion Classical music' of the late-eighteenth and nineteenth centuries. Probably the most versatile of Russian composers, he made great and lasting contributions to all genres - operas, ballets, incidental music, symphonies and other orchestral works, chamber music, piano music, sacred and secural choral music, romances, Lieder and folk-song arrangements - establishing a special place for Russion music within the European tradition. Publications of the first complete edition of Tschaikowsky's works was started in the centenary year of his birth, 1940. Publication of a second edition will begin in 1993, the centenary of his death. There are important reason, both editorial and in terms of content, for a second edition to follow so soon. In the old edition, ideological considerations meant that some of the texts which Tschaikowsky set to music were arbitrarily altered. Similarly, quotations of the old Russian national anthem were replaced by other music. A number of works, or independent versions, werde completely overlooked. For example, the full score of the opera 'Vakula the Smith' (the first version of Cerevicki) and the unfinished Symphony in E flat major werde not standardized; in some cases no textual analysis was offered, and critical apparatures were simply dispensed with.The new complete edition will remedy these shortcomings. In addition to the composer's final versions, it will include alternative and earlier versions of works, as well as fragments and incomplete works, all reproduced faithfully from the sources. Documentation and discussion will be provided in Critical Commentaries. Piano reductions exist of the stage works, concertos and concertante pieces as well as of some of the cantatas and orchestral works, either written by Tschaikowsky himself, or revised or authorized by him. These are all to be included in the edition which, with its historico-critical approach, will address the need both of scholars and of practical musicians.The edition of musical works (Serie I-IX) is supplemented by a facsimile edition of all of Tschaikowsky's surviving sketches (Serie X), the texts of his diaries, writings and letters, including the three-volume Tschaikowsky-Mekk correspondence (Serie XI), a two-volume catalogue of works and a single-volume Tschaikowsky Encyclopaedia (Series XII).

SKU: HL.14021104

UPC: 884088433321. 9.75x13.75 inches.

The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.