Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

(Choral Medley)-As American pop icon Neil Diamond announces his retirement from touring it's the perfect time to celebrate his amazing career and his even more amazing output of classic pop/rock songs. This 8-minute medley includes Song Sung Blue I'm a Believer and Sweet Caroline and you know your audience will be singing along at the top of their voices.

Cheryl Frances-Hoad's One Life Stand for Mezzo-Soprano with Piano accompaninment sets a text by Sophie Hannah. 'The idea for One Life Stand originated from a discussion over lunch in Cambridge with my friend Jennifer Johnston. She was bemoaning the fact that although she loved to sing Schumann’s Frauen-Liebe und Leben (Women’s Lives and Loves) and was always being asked to do so she did find Chamisso’s words rather outdated and suggested I write an updated version. I jumped at the chance and by pudding we were already thinking about whose poetry I might set. A few weekslater during a meeting with Chris Gribble (Chief Executive of Writers’ Centre Norwich) he told us that the crime writer and poet Sophie Hannah had recently moved to Cambridge and had many suitable poems. It wasn’t long before we all met up for lunch and began discussing the contenders for a series of poems that might portray a modern woman’s life and loves. To begin with I had a list of about twenty five poems that I would have liked to set taken from four of Sophie’s poetry collections (The Hero and the Girl Next Door (1995) Hotels like Houses (1996) First of the Last Chances (2003) and Pessimism for Beginners (2007: all published by Carcanet Press) but the final eight in my view come together to form a narrative that is clear yet open to interpretation and contains the whole gamut of complex emotions (both serious and humorous) that made the poems such a dream to set to music. Although the idea for the work originated as a reaction to Chamisso’s poetry in the course of composing the cycle I found much inspiration from Schumann’s song cycle and many of the songs in my work are based very closely on either the harmony and/or the motivic material of what in my view is the “corresponding” song in Frauen-Liebe und Leben.' - Cheryl Frances-Hoad

Fassung Iv. Par BACH JOHANN SEBASTIAN. with the unfinished revision [1739] an an appendix. The St. John Passion ranks among the great vocal works from Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach’s direction in 1749. At the same time, with the aid of the appendix it is possibleto perform the work in the traditional “mixed version. ” / Oratorio / Date parution : 2004-10-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

25 Choral Highlights for Upper Voices. Following the great success of the award-winning first volume of Reine Frauensache! (crowned Best Edition 2017 by the German Music Publishers Association), Edition Peters presents the longawaited second book in this series. As previously, the collection includes pieces at easy to intermediate level that are fun to sing and highly effective in performance. The selection represents a broad cross-section of choral repertoire, making it a treasure trove for any female choir. ? 25 easy to intermediate choral settings in three or four parts, particularly suitable for amateur choirs ? Effective and varied repertoire ranging from Pergolesi to ABBA ? Four categories of pieces: Secular, Sacred, Folksongs and Pop ? Mostly a cappella piano/instrumental accompaniments are available separately ? Appendix with translations of foreign-language lyrics

Advent and Christmas Cantatas-72 Solo Cantatas for Voice Melodic Instrument and Basso continuo.Advent & Christmas - Medium Voice.When Telemann issued his first annual cycle of printed cantatas Der Harmonische Gottesdienst (Hamburg 1725-6) he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring the 72 solo cantatas have remained very popular to the present day.These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice.Each series spreads the works over three volumes accompanied by separate parts forsolo instrument and continuo. The cantatas follow the order of the liturgical year beginning with the Christmas season and continuing with Easter and Trinity.Being practically minded Telemann arranged the ambitus of the Vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’.Similarly the solo instruments are suitable for Violin Oboe Recorder or Flute.- Interesting solo cantatas for use in church services.- Urtext from the Telemann Edition.- Separate parts for instrument and continuo.

This masterful setting of God’s Grandeur by Kenneth Leighton composed quite early in his career has characteristic mid-century muscularity. One can discern the influences of Hindemith and Dallapiccola at moments though the Leighton sustains his diatonic grounding. There are frequent seconds and fourths in the harmonies and sly programmatic details like the sliding setting of the word ‘oozing’. Composer and pianist Kenneth Leighton is one of Britian’s most distinguished post-War composers whose works for Piano and Organ in particular manifest his intellectual rigour and Romanticism with virtuosic solo writing.

An Anti-Bullying Program-Let the positive power of music help you create a bully-free community! Many students experience bullying as the greatest problem in their lives with an estimated 160 000 students in the USA refusing to go to school each daybecause they dread the physical and verbal aggression of their peers and the isolation that comes from being the target of rumors and cyber-bullying. This 15-minute revue uses pop music from the 60s and 70s up through the presentday along with simple fast-paced dialog and easily-learned choreography to make this an uplifting learning experience for your entire school. Songs include: Change the World (Eric Clapton) Lean onMe (Bill Withers) Nowhere Man (The Beatles) Unwritten (Natasha Bedingfield) Wooly Bully (Sam the Sham & the Pharaohs). Available separately: SATB SAB 2-Part ShowTrax CD. Rhythm parts availabledigitally (syn gtr b dm perc). Duration: ca. 15:00.

Cantata for Whit Sunday-Cantata for Whit SundayIn 1717 Telemann composed his cantata ?Gott Der Hoffnung Erfülle Euch? for the first day of Whitsun based on a text by Erdmann Neumeister. It forms part of the ?Concerten-Jahrgang? also known as ?Das Harmonische Zion? or ?Italienischer Jahrgang? where all the cantatas are conceived as concertos for vocal and instrumental parts and have been colourfully scored.This particular work includes two Oboes two Corni da Caccia and Strings. Vocal soloists choir and instruments alternate and have equal musical standing in this festive Whitsun cantata which provides a valuable addition to the church service orconcert repertoire.Urtext edition based on ?Georg Philipp Telemann Musical Works?Cantata for the first day of WhitsunIdeal for church services and concertsAn attractive addition to the repertoire with a view to the 250th anniversary of Telemann?s death (2017)Full score & parts (BA5898) and vocal score (BA5898-90) available for sale

Fassung Iv. Par BACH JOHANN SEBASTIAN. with the unfinished revision [1739] an an appendix. The St. John Passion ranks among the great vocal works from Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach’s direction in 1749. At the same time, with the aid of the appendix it is possibleto perform the work in the traditional “mixed version. ” / Oratorio / Date parution : 2004-10-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

Instrumental Accompaniment Set-This setting of the unchanging (ordinary) common texts of the Eucharist was composed for unison congregational singing. Various sections may be sung by choir and congregation combined by choir or congregation alone or by the choir alternating with the congregation.Included sections are: Gloria Kyrie Eleison (Greek or English) Trisagion The Creed Sanctus I And II Two Versions Of The Lord's Prayer and Agnus Dei.

aus The Strathclyde Motets-Communion motet composed for Trinity Sunday from the Strathclyde Motets set II. Latin text from Tobias 12: 'Benedicimus Deum caeli et coram omnibus viventibus confitebimur ei: quia fecit nobiscum misericordiam suam'. For mixed intermediate Choir a cappella.

Judith Weir’s work is often inspired by narrative folklore and theatre. This creepy-crawly work was inspired by the novel Die Schwarze Spinne by Jeremias Gotthelf a tale about an evil venomous spider including heartless Count heroic village maiden and a truly otherworldly Green Huntsman and a 1983 news story about the mysterious deaths of the archaeologists who opened the tomb of Casimir IV in Krakow in the 1970’s. There are spoken parts bridging the two stories.Weir employs many musical languages in this alternately boisterous and sinister work: patter songs church hymns recitativo among them. Weir is not at all precious about voicing recommending that allthe roles be sung at any convenient octave Altos substituting for basses at the octave if a children’s Chorus is performing the work. The one-act structure works well for young performers.Judith Weir is one of Britain’s most prolific and successful composers widely known for her operas like The Vanishing Bridegroom and A Night At The Chinese Opera and her many Choral works as well as her pieces for Strings and Piano. She was Artistic Director of the Spitalfields Festival and is a professor at Cardiff University.

Il dissoluto punito ossia Il Don Giovanni

Dramma giocoso in 2 Akten (deutsch/italienisch)

Edition : Piano Reduction/Vocal Score. Urtext Edition
Editor : Plath, Wolfgang.Rehm, Wolfgang
Binding : hard bound
Instrumentation : 3 Soprano solo, Tenor solo, Baritone solo, Mixed Choir, 3 Bass solo, 2 Flute, 2 Oboe, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, 2 Trumpet, 3 Trombone, Kettledrum, Mandoline, Strings, Cemb. Bühnenmusik: 2 Oboe, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, Strings

Besetzung / Ensemble
Vorwort
Preface
Verzeichnis der Szenen / Index of Scenes
Ouvertura / Ouvertüre
Atto primo / Erster Akt
Atto secondo / Zweiter Akt
Anhang / Appendix