SKU: GI.G-007536
SKU: CA.4065315
ISBN 9790007075866. Key: D major. Language: Latin.
With its traditional forms and proven compositional models, its original ideas, which are sometimes marked by a folk- or folksong-like melodic character, and with its harmonic richness, Dvorak's D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy. Score and part available separately - see item CA.4065300.
SKU: CA.4065309
ISBN 9790007075811. Key: D major. Language: Latin.
With its traditional forms and proven compositional models, its original ideas, which are sometimes marked by a folk- or folksong-like melodic character, and with its harmonic richness, Dvorak's D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy. Score and parts available separately - see item CA.4065300.
SKU: CA.4065349
ISBN 9790007075873. Key: D major. Language: Latin.
SKU: CA.4065314
ISBN 9790007075859. Key: D major. Language: Latin.
SKU: CA.4065313
ISBN 9790007075842. Key: D major. Language: Latin.
SKU: CA.4065149
ISBN 9790007039240. Key: D major. Language: Latin.
With its traditional forms and tried-and-tested compositional models, with its original ideas, sometimes with popular, folksong-like melodies, and its harmonic richness, the Mass in D is a liturgical offering for the worship of God. It is characterized more by lyrical meditation than dramatic directness. Score and part available separately - see item CA.4065100.
SKU: GI.G-2402
Scripture: Psalm 95:1–2, 6–7, 8–9.
SKU: MN.56-0075
UPC: 688670220784. Latin.
This mass setting was commissioned by the Friends of Christ Church Cathedral, Oxford and first performed on Ascension Sunday, 1994. Suitable for both church and concert use, the music is both lyrical and dramatic. The ââ¬ÅSanctusââ¬Â begins quietly, with divided sopranos trading off on a major second in a mysterious and meditative way. Parts add and build until the basses enter with a cantus firmus of sorts. The major second continues to figure prominently in the ensuing material. The movement ends with a simple melody repeated in unison (ââ¬ÅHosanna in excelsisââ¬Â) fading away into the distance. Duration 3:55.
SKU: CA.2800503
ISBN 9790007170622. Text language: Latin.
The Latin text of the mass is venerable, universal, and unites people. For the German Protestant Church Congress 2015, this ancient text was set in contemporary style by Tilman Jager under the title Missa Pacis. Impressive sounds, mystic-meditative moods, Latin American rhythms, catchy melodies and a Dona nobis pacem for everyone to join in combine in the Missa Pacis to form a convincing whole. The hour-long composition is scored for 4-8 part chorus with optional soloists and accompanying band. The work is generally tonal, but offers a breadth of different styles ranging from classical choral-symphonic to rhythmic choral movements with influences from gospel, jazz, and pop. Parts for the accompanying band are fully written out. In some sections of the mass the instrumentalists can also improvise. Score available separately - see item CA.2800500.
SKU: SU.80101343
Solstice Sonata (2013) for trumpet and organ was commissioned by the American Guild of Organists for its 2014 Biennial National Convention in Boston, Massachusetts. It was premiered on June 24, 2014 at the Memorial Church, Harvard University, by trumpeter Chris Gekker and organist Christian Lane. At the solstice (summer in the Northern Hemisphere and winter in the Southern), the sun is directly aligned with the tropical latitude lines, and the longest day of the year occurs (marking the start of summer). This sonata is music of celebration and contemplation, taking the inspiration of the longest day as a starting place for both meditation both thoughtful and joyous. Take Flight soars and leaps with vigor-perhaps the image of a hang-glider's journey over a dramatic landscape under the late evening sun. The Dream of Peace is lyrical and passionate; it is perhaps night music of reflection and intensity. Glittering, Aglow begins with quiet, mystical music: a gradual awakening. A vibrant, syncopated dance breaks out, is interrupted by the quiet music again, and returns to push forward to a vibrant conclusion. The new season has begun.Instrumentation: Trumpet and Organ. Composed: 2013 Published by: Zimbel Press.
SKU: CA.3118714
ISBN 9790007209995. Text language: German/English.
The two-part cantata from Bach's third cycle of cantatas was performed for the first time on 4 August 1726 (the 7th Sunday after Trinity). The large-scale opening chorus for full forces to a text from Psalm 104 shows in its formal diversity Bach at the height of his powers. The second part of the cantata begins with a biblical text (Matthew 6, 31 ff.), not as a choral movement here, but as an extended bass arioso (Vox Christi). A meditative soprano aria with solo oboe forms the high point of the second part. Bach re-used the opening chorus, both the arias and even the bass arioso later in the G minor Mass BWV 235. Score and part available separately - see item CA.3118700.
SKU: CA.3118703
ISBN 9790007182946. Language: German/English.
The two-part cantata from Bach's third cycle of cantatas was performed for the first time on 4 August 1726 (the 7th Sunday after Trinity). The large-scale opening chorus for full forces to a text from Psalm 104 shows in its formal diversity Bach at the height of his powers. The second part of the cantata begins with a biblical text (Matthew 6, 31 ff.), not as a choral movement here, but as an extended bass arioso (Vox Christi). A meditative soprano aria with solo oboe forms the high point of the second part. Bach re-used the opening chorus, both the arias and even the bass arioso later in the G minor Mass BWV 235. Score available separately - see item CA.3118700.
SKU: CA.3118709
ISBN 9790007209957. Language: German/English.
The two-part cantata from Bach's third cycle of cantatas was performed for the first time on 4 August 1726 (the 7th Sunday after Trinity). The large-scale opening chorus for full forces to a text from Psalm 104 shows in its formal diversity Bach at the height of his powers. The second part of the cantata begins with a biblical text (Matthew 6, 31 ff.), not as a choral movement here, but as an extended bass arioso (Vox Christi). A meditative soprano aria with solo oboe forms the high point of the second part. Bach re-used the opening chorus, both the arias and even the bass arioso later in the G minor Mass BWV 235. Score and parts available separately - see item CA.3118700.
SKU: CA.3118713
ISBN 9790007209988. Text language: German/English.
SKU: CA.3118749
ISBN 9790007210007. Language: German/English.
SKU: CA.3118705
ISBN 9790007182984. Language: German/English.
SKU: CA.3118719
ISBN 9790007183318. Language: German/English.
SKU: CA.3118712
ISBN 9790007209971. Text language: German/English.
SKU: CA.3118711
ISBN 9790007209964. Text language: German/English.
SKU: CA.3118700
ISBN 9790007171650. Language: German/English.
The two-part cantata from Bach's third cycle of cantatas was performed for the first time on 4 August 1726 (the 7th Sunday after Trinity). The large-scale opening chorus for full forces to a text from Psalm 104 shows in its formal diversity Bach at the height of his powers. The second part of the cantata begins with a biblical text (Matthew 6, 31 ff.), not as a choral movement here, but as an extended bass arioso (Vox Christi). A meditative soprano aria with solo oboe forms the high point of the second part. Bach re-used the opening chorus, both the arias and even the bass arioso later in the G minor Mass BWV 235.