Format : Octavo
SKU: HL.50606900
UPC: 196288201441.
A school musical on the theme of acceptance and difference, suitable for secondary school performances. Playing time approx. 35 minutes. Story: Somehow he is different, the new student: his name is Elec and he has uncanny abilities. His classmates wonder and whisper about him. Even the schoolhouse detective is on his trail. What he finds out leads to only one conclusion: Elec is an alien! But on what mission? Elec only trusts Judith and reveals himself to her: he was sent to Earth to learn humanity. When his classmates offer Elec not to betray him if he uses his abilities in their favor, he agrees and prevents the next class test. But things get out of hand and the police are called in. Shortly before they take Elec away, he learns what humanity means and the class stands united with him. Elec's Secret was created based on ideas from students at Pestalozzi Middle School Oberlungwitz.
SKU: CA.3113949
ISBN 9790007208295. Text language: German/English. Text: Rube, Johann Chr.
Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.
SKU: GI.G-9759
ISBN 9781622772629.
Rehearsals should be structured in a way that trusts that human beings are truly the miracle workers and that if we work on being human, the magic of this thing called “moral acoustic†will resonate in a powerful, honest, and compelling way. For at the very end of the day, our goal in harnessing the energy contained in a moral acoustic is to create the most honest and direct communicative voice possible—a voice that can change lives and enrich our humanness just by hearing it, feeling it, and being touched by its ‘moral acoustic.’ —James Jordan, from Chapter 4 This volume is a continuation of the journey James Jordan began in his now iconic book The Musician’s Soul. In The Moral Acoustic of Sound, Jordan explores and defines those factors that create a “moral acousticâ€â€”those human resonances among and between musicians. This book delves into the nature of authenticity and honesty in choral sound and how conductors and teachers, through these new understandings, can draw forth that which is living within each ensemble of musicians no matter their age or experience. Using the power of metaphor, this book attempts to provide answers to unlock the magic and mysteries in music making and human expression. Specific to the journey of The Moral Acoustic of Sound: Understanding trust between and among musicians The relationship of intonation and color as a function of moral acoustic Humility and its role in music making Thatching within an ensemble Enfleshment as a vital part of music making Metaphors that guide conductors to deeper listening Fostering generosity in music making Grammy-nominated conductor and music psychologist James Jordan is Professor and Senior Conductor at Westminster Choir College in Princeton, NJ, where he conducts the acclaimed Westminster Williamson Voices and the Westminster Schola Cantorum. He is also Artistic Director and Conductor of The Same Stream (thesamestreamchoir.com). He heads two of the leading programs in the world for mentoring conductors, serving as Director of the renowned Westminster Conducting Institute and Co-Director of the Choral Institute at Oxford, held annually at St. Stephen’s House, Oxford, UK.
SKU: CA.3113914
ISBN 9790007208271. Text language: German/English. Text: Rube, Johann Chr.
SKU: OU.9780193356085
ISBN 9780193356085. 12 x 8 inches.
For ATTBB solo voices unaccompanied. Skempton's setting of the text from the Book of Revelation is reflective rather than ferocious, and trusts in the power of understatement.
SKU: CA.3113900
ISBN 9790007170479. Text language: German/English. Text: Rube, Johann Chr.
Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello.
SKU: CA.3113915
ISBN 9790007208288. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113911
ISBN 9790007208240. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113912
ISBN 9790007208257. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113903
ISBN 9790007181192. Language: German/English. Text: Rube, Johann Chr.
Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score available separately - see item CA.3113900.
SKU: CA.3113905
ISBN 9790007181093. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113909
ISBN 9790007208233. Text language: German/English. Text: Rube, Johann Chr.
Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and parts available separately - see item CA.3113900.
SKU: PR.11441378S
UPC: 680160585939. 11 x 14 inches.
Commissioned by Network for New Music, who premiered the work in April 2008, with support from Philadelphia Music Project, an Artistic Initiative of The Pew Charitable Trusts, administered by the University of the Arts.“Song and Dance†began its life as a nascent melody in the late eighties, employing a similar motivic cell as did three of my works written over a period of several years — East Wind, String Quartet No. 2 (Vistas), and Mirage. At the ore of these three works is the simplest of melodic kernels — a note encircled by its two neighboring tones (and more specifically, a half step above and whole step below). At the time, I envisioned writing a work for voice, oboe, and marimba, and had just begun it, only to drop it in favor of more pressing compositional assignments. Almost twenty years later, the vocal fragment finally evolved into the “song†of this work, played here by the soprano saxophone. But it seems that the song, all these years, had been waiting for its counterpart, a dance. Singing and dancing are two of humankind’s most basic and essential impulses, transcending time and place, reaching back to the earliest civilizations. The resulting composition, “Song and Danceâ€, moves back and forth between the two, delineating its various parts further with the use of both soprano and alto saxophones, partnered by mallet percussion instruments — mostly vibraphone and marimba, with bells added at the very end of the work. The song portions return to the same melody, varied and evolved over time, as new materials are introduced in the dance sections, affecting the presentation of the recurring song music. My thanks to the Network for New Music for commissioning this work and allowing me the freedom to choose its format and instrumentation.—Shulamit Ran.
SKU: CA.3113913
ISBN 9790007208264. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113919
ISBN 9790007181277. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113907
ISBN 9790007244965. Language: German/English. Text: Rube, Johann Chr.
SKU: BT.EMBZ6703
The work is dedicated to Bálint Balassi, the great poet of the Hungarian Renaissance. The composer sets a tune of the poet. The four-movement composition is well tailored to the virtuoso qualities of the instruments and entrusts not only the trumpets and trombones but also the tuba with noble melodies. The movements are: Preludio, Scherzo, Notturno, Finale. Moderately difficult.
SKU: HL.645774
ISBN 9790080067031. UPC: 008148067039. 9.0x12.0 inches.
The work is dedicated to Balint Balassi, the great poet of the Hungarian Renaissance. The composer sets a tune of the poet. The four-movement composition is well tailored to the virtuoso qualities of the instruments and entrusts not only the trumpets and trombones but also the tuba with noble melodies. The movements are: Preludio, Scherzo, Notturno, Finale. Moderately difficult.
SKU: BA.BA08703
ISBN 9790006530465. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh.
Edouard Lalo composed two operas: “Le Roi d’Ys†enjoyed considerable success at its first performance at the Opera-Comique in 1888, and it remained in the repertory for many years. His other opera, “Fiesqueâ€, on the other hand, had to wait nearly 140 years before it was performed in a concert version in Montpellier in 2006, and then was finally premiered on stage at the National Theatre Mannheim on 16 June 2007.Fiesque is an opera of action and intrigue, set in Genoa in 1547 and based on Schiller’s early drama “Die Verschwörung des Fiesco zu Genuaâ€. The historical Fiesco led a conspiracy against the ruling Doria family, Doges of Genoa. The plot revolves around Fiesque’s love for Julie, daughter of his enemy Andreas Doria, and his wife Lonore’s bitter suspicion. Fiesque is also opposed by Verrina, an old fanatical republican who distrusts Fiesque’s commitment to overthrowing the Dorias, especially when his involvement with Doria’s daughter is known. In the final act the Dorias are overthrown; the crowd acclaims Fiesque and Lonore in a triumphal march, but Verrina refuses to allow Fiesque to assume supreme power and throws him to his death in the waters of harbour. Lalo’s invention is remarkable, and the orchestral writing is at times powerful, at times poignant. Its revival adds a remarkable work to the repertory of French operas.
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