Trio Of Praise

After the Sextet in B-flat major op. 18-A much welcomed edition to the Piano trio literature.Includes an informative introduction (Eng/Ger) and a critical commentary (Eng).In addition to Bärenreiter?s scholarly-critical editions of Brahms? trios an arrangement of Brahms? String Sextet Op.18 for Piano trio by his contemporary and friend Theodor Kirchner is now being published. Simrock Brahms publisher issued it in 1883. Brahms responded to the arrangement of his sextet with total enthusiasm and praise for the skills of his friend Kirchner (1823 1903).Christopher Hogwood?s scholarly-critical edition includes an introduction which sheds light not just on thehistory of the arrangement and its validity in its own right but also on Kirchner and his relationship to Brahms.Chamber Works by Brahms already published:Trio for Violin Violoncello and Piano Op.87 (BA 9436)Trio for Violin Violoncello and Piano Op.101 (BA 9437)Trio for Violin Horn (Viola or Violoncello) and Piano Op.40 (BA 9435)Trio for Clarinet (Viola) Violoncello and Piano Op.114 (BA 9438)

Ponder for a moment the lengths to which people have gone the trials they have endured and the risks they have taken while fighting to gain or preserve their freedom. After all without freedom what do you have?The opening of IN PRAISE OF FREEDOM introduces a sense of patriotism and independence. The Brass Woodwinds and Percussion take turns sharing the 'spotlight' throughout this uplifting piece. A final fanfare praises the progress of the relentless development of freedom for all mankind.

for Trumpet or Clarinet-Winds of Praise is a uniquely flexible collection for solos duets trios quartets quintets sextets and more! Each arrangement can be performed unaccompanied or accompanied using the piano accompaniments in the piano/score book or by using the orchestrated StudioTrax CD that is included in all individual instrumental parts books. 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 song making Winds of Praise an essential addition to your library for the advanced orbeginning player alike! Contents: Come Now Is the Time to Worship • How Great Is Our God • Above All • Here I Am to Worship • He Is Exalted • and more.

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Niveau : Moyen / Date parution : 2024-02-16/ Recueil / Violon

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Niveau : Moyen / Date parution : 2024-02-16/ Recueil / Violon et Piano (Guitare ad lib.)

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