SKU: BT.AMP-091-400
ISBN 9789043153362. English-German-French-Dutch.
In Classic Hymns, Philip Sparke has taken 10 of the best-loved hymn tunes, popular around the world, and used them as the basis of a collection of short recital pieces, ranging from simple descant arrangements to a full-blown theme and variations. Ideal for concert or contest use, these charming pieces range in mood from triumphal to reflective and can provide that ‘musical moment’ and a time for meditation in church services and religious occasions of all kinds.Anglo Music PressBij de keuze van de hymnen voor deze verzameling heeft Philip Sparke grotendeels geput uit de grote Engelse hymnen van de 18e en 19e eeuw - melodieën die niet alleen geschikt zijn voor samenzang, maar ook veel muzikalemogelijkheden bieden voor uitbreiding en variatie. De bijgevoegde cd bevat zowel volledige uitvoeringen als begeleidingstracks. Deze hymnen zijn uitstekend geschikt voor het spelen in concert- of wedstrijdverband, of als muzikaalintermezzo tijdens een kerkdienst.Bei der Auswahl der Hymnen für diese Sammlung bediente sich Philip Sparke größtenteils der großen, englischen Hymnen aus dem 18. und 19. Jahrhundert. Die beiliegende CD enthält sowohl vollständige Aufnahmen als auch reine Begleitversionen. Diese Hymnen eigenen sich perfekt für den Einsatz im Gottesdienst, Konzert und Wettbewerb, aber auch für das Spiel zum eigenen Vergnügen.
SKU: BT.CMP-1257-08-400
ISBN 9789043130950. 9x12 inches. German.
This collection contains some of the world’s greatest hymns. The goal of these arrangements is to allow instrumentalists the opportunity to give praise and adoration to God through their musical abilities. A piano accompaniment book is also available for concert performances. Contains; All Creatures of Our God and King, Praise To The Lord, Be Thou My Vision, O Worship The King and others. Eine Sammlung von weltberühmten Hymnen und Chorälen auf konzertante, anspruchsvolle Weise arrangiert. Auf der CD sind jeweils zwei Tracks pro Titel: zuerst mit der Melodie, dann ohne, so dass man mit der CD musizieren kann. 10 pièces sacrées avec accompagnement de piano et d’orgue. Les accompagnements pour piano sont disponibles dans un recueil séparé.
SKU: LP.765762163003
UPC: 765762163003.
Here is another great release from the immensely popular All the Best Songs of Praise & Worship series. New songs like Center Rescue and Revelation Song as well as some updated treatments of classic and familiar hymns such as Everlasting God Amazing Grace (My Chains Are Gone) Mighty to Save and Your Grace Is Enough are all included in this incredible book. You will find this ultimate gathering of songs chosen from the trusted Top 500 CCLI to be invaluable for congregational worship as well as for solo presentation. All the Best Songs of Praise & Worship 3 will give you the most exhaustive collection of the most powerful and effective songs being sung by God's people around the world. Over 100 favorites for congregation worship team or small group use in easy-to-read songbook format 60 song titles are provided in split-channel format for pre-recorded accompaniment options Now with complete church-friendly orchestrationsSong Indexes: Index of Scripture Backgrounds by Song Index of Scripture Backgrounds by Book.
SKU: LP.765762162907
UPC: 765762162907.
SKU: GI.G-4916INST
SKU: LP.765762182400
UPC: 765762182400. Text by Joachim Neander & Phil Mehrens.
Treat yourself and your choir to this traditional hymn artfully arranged and orchestrated by Dave Williamson. Upbeat and rhythmic with new text and lyrics in the bridge it's a traditional classic with a contemporary twist.
SKU: LO.30-3620L
UPC: 000308151442.
Brass and Percussion Score and Parts for Our Grateful Praise! (10/5193L) Lloyd Larson’s dynamic anthem includes three beloved and timeless Thanksgiving hymns that are sure to appeal to choirs and congregations alike. The optional brass provides an additional dimension of inspiration as the choir lifts collective voices in a passionate acclamation of thanks!
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
SKU: CA.3321509
ISBN 9790007051662. Language: Latin.
C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the Hymn to the Virgin Mary (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive (empfindsam) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme. Score and parts available separately - see item CA.3321500.
SKU: CA.3501209
ISBN 9790007213022. Text language: Latin.
Mention the key words Johann Sebastian and Magnificat, and one thinks involuntarily of his well-known Magnificat in D major BWV 243 or in E flat major BWV 243a. However, during the time of his tenure as St. Thomas Kantor, several times Bach also referred back to older settings of the Magnificat text and arranged these for his own purposes. Thus, for the first time it can be documented that in its original version the double choir Magnificat in C major BWV Anh. 30 contained in Bach's music library, which was originally handed down anonymously, was composed by Pietro Torri. Torri was the Music Director at the Court of the Bavarian House of Wittelsbach. For performance purposes in Leipzig in ca. 1742 Bach retained the substance of the work but composed additional parts for a 3rd trumpet and timpani. For the first time ever this splendid work appears at Carus in a printed edition. Score and parts available separately - see item CA.3501200.