Format : Score
SKU: BT.EMBZ6725
Hungarian.
Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue. Diese Ausgabe entstand unter der Mitwirkung von Lajos Bárdos.
SKU: BT.EMBZ6725A
Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue.
SKU: BA.BA04194
ISBN 9790006444731. 27.5 x 19.5 cm inches. Text Language: Latin. Preface: Göllner, Marie Louise.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: BR.CHB-5371-02
ISBN 9790004413012. 7.5 x 10.5 inches. Finnish.
The hymn from the tone poem Finlandia op. 26 for orchestra, one of the best-known works of Jean Sibelius, became the unofficial national anthem of Finland with the text of Veikko Antero Koskenniemi (1906-1962). In a time of great insecurity after the attack of the Soviet Union in 1939, Koskenniemi managed to capture the rising national consciousness and the hope of the Finns for an imminent solution of the conflict. Sibelius had already written an arrangement of the hymn for male choir on a different text in 1938, but after a suggestion by his publisher Roger Lindberg, he decided to write a version for mixed choir, too, on the by now better known text by Koskenniemi. This version in F major was published in 1949, but at Breitkopf & Hartel only with a German translation by Hellmuth von Hase. The Finlandia-Hymn with the Finnish text by Koskenniemi is therefore now available at Breitkopf & Hartel for the first time, as Urtext of the complete edition Jean Sibelius Works. The edition includes both the version in F major as well as a second version in A flat major, written by Sibelius himself, too, but until now unpublished outside of the complete edition.
SKU: BR.CHB-5371
SKU: JK.19970
Hymn singing is an important part of our heritage as members of The Church of Jesus Christ of Latter-day Saints. Elder Boyd K. Packer, in October 1991 General Conference, said: If we will listen, [hymns] are teaching the gospel, for the hymns of the Restoration are, in fact, a course in doctrine! In his landmark speech entitled The Arts and the Spirit of the Lord, Elder Packer stated:Our hymns speak the truth as far as they go. They could speak more of it if we had more of them specifically teaching the principles of the restored gospel of Jesus Christ. If I had my way there would be many new hymns with lyrics near scriptural in their power, bonded to music that would inspire people to worship. Think about how much we could be helped by another inspired anthem or hymn of the Restoration. (BYU, February 1, 1976)In response to Elder Packer's invitation, we have been writing new hymns during the past decade based on favorite general conference sermons. Our hope was that once the central theme of each address was set to music it might serve as another witness of the inspired message, and would be sung in homes, in choirs, and in conjunction with the Teachings For Our Time lessons in Relief Society and Priesthood meetings.Janice Kapp PerryDavid B. LarsenThis songbook contains a Topical IndexThe hymns offered by Prime Recordings Inc. are neither made, provided, approved nor endorsed by Intellectual Reserve, Inc., The Church of Jesus Christ of Latter-day Saints or its leaders. Any content or opinions expressed, implied or included in, or with this book from Prime Recordings Inc., are solely those of David B. Larsen and Janice Kapp Perry, and not those of Intellectual Reserve, Inc., The Church of Jesus Christ of Latter-day Saints or its leaders.*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: BR.CHB-5370
ISBN 9790004413005. 7.5 x 10.5 inches. Latin.
In 1896, Sibelius wrote Hymn (Op. 21), also known by its initial words Natus in curas, for the unveiling of the sepulchral monument of Josef Pippingskold (1825-1892), professor of obstetrics at the Imperial Alexander University in Finland (presently the University of Helsinki). The Latin text for Hymn was written for the occasion by Fridolf Gustafsson (1853-1924), professor of Roman literature at the University. Sibelius worked as acting music teacher at the University at the time, and as part of his duties at the ceremony he conducted a small ensemble consisting of singers from the male choirs Akademiska Sangforeningen and Muntra Musikanter. According to the report in Hufvudstadsbladet on the following day, the simple unveiling ceremony was given a particularly impressive ending by a hymn composed for the ceremony by Jean Sibelius in an old Italian style. The work was included in a choral collection published in 1899, for which Sibelius made small revisions, mostly by interchanging the inner-voices in some passages and reworking the ending by extending the last phrase. This version was published in the Complete Edition on which the current practical edition is based.
SKU: CL.012-2157-01
Based on the famous hymn tune, Onward Christian Soldiers.’’ Solid scoring, colorful harmonies, and rich textures combine to make this majestic setting a bold and powerful musical statement. An excellent prelude to programs including contest, holiday and graduation.
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-2157-00
SKU: BA.BA09092
ISBN 9790006565795. 31 x 24.3 cm inches. Text Language: German, English. Preface: John Michael Cooper. Text: Mendelssohn Bartholdy, Felix (nach der Luther-Bibel und Martin Rinckart) / Monicke, Charles Henry.
Mendelssohn’s contemporaries frequently mentioned his “Hymn of Praise†in the same breath as Beethoven’s Ninth – and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name “symphony-cantataâ€. Later he added a secular counterpart with “Die Erste Walpurgisnachtâ€.Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work’s performance, e.g. tempo, articulation and dynamics.For the first time the piano reduction includes Mendelssohn’s authorised version of the “Sinfoniaâ€, based on the first edition of No. 1 for piano solo.
SKU: C4.9790902260398
ISBN 9790902260398. 8.27 x 11.7 inches.
One-time organist at Westminster Abbey and inaugural director of what is now the Royal School of Church Music, Sir Sydney Hugo Nicholson wrote a number of liturgical works and hymn tunes. The present edition is based on that issued by The Faith Press in 1930, and includes a handful of corrections.
SKU: KJ.WB172F
Old Time Spirit, a delightfully upbeat composition loosely based on the hymn, Old Time Religion, is also the fight song melody for Henderson State University in Arkansas. Compelling and spirited, the work features soloistic writing, soaring tutti horn lines, and exuberant tutti sections contrasting with a lyrical, reflective, slower section. The work concludes with a restatement of the lively and spirited opening material.
SKU: HP.1458
UPC: 763628114589.
Hymn based on Ode to Joy The stirring Beethoven Ode to Joy has been set for various mediums. It is with rhythmic vitality, well thought out harmonic changes and effective use of bell techniques that Michael Keller offers this setting of the tune Joyful, Joyful, We Adore Thee for English handbells. The arrangement is workable as a 3-5 octave bells only selection or can be performed with keyboard, brass, solo trumpet, or a combination of these.
SKU: HP.1458B
UPC: 763628214586.
SKU: HP.1687
UPC: 763628016876.
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
