Music from the Motion Picture Soundtrack. Par PASEK BENJ / PAUL JUSTIN. 11 chansons de la bande originale du film à succès, dont 'The Anonymous Ones' et 'A Little Closer', écrites exclusivement pour le film. Toutes les chansons sont arrangées pour le piano, la voix et la guitare avec les grilles d'accords et les paroles complètes. La mélodie est incluse dans la partie de piano. Sommaire : The Anonymous Ones - For Forever - If I Could Tell Her - A Little Closer - Only Us - Requiem - Sincerely, Me - So Big/So Small - Waving Through a Window - Words Fail - You Will Be Found. / Date parution : 2021-12-09/ Recueil / Piano/Vocal/Guitare (PVG)

This collection for progressing students includes art songs as well as arrangements of folksongs and spirituals. ART SONGS Anonymous: Pastime with good company · Campian: Jack and Joan · Dowland: Come again sweet love · Dowland: What if I never speed · Gibbons: The Silver Swan · Ireland: Spring Sorrow · Lawes: How happy art thou · Morley: It was a lover and his lass · Morley: Now is the month of Maying · Purcell: I attempt from love's sickness · Purcell: Nymphs and Shepherds · Quilter: Weep you no more · Vaughan Williams: The Call · Vaughan Williams: Bright is the ring of words · ARRANGEMENTS All Through the Night (arr. Nicholl) · The Gospel Train (Walters) · Greensleeves (arr.Stanley) · He's Got the Whole World in His Hands (arr. Boyd) · How Can I Keep from Singing (arr. Ruck) · I gave my love a cherry (arr. Dean) · Jacob's Ladder (arr. Walters) · My Lord What a Mornin' (arr. Burleigh) · Shenandoah (arr. Walters) · Sometimes I Feel Like a Motherless Child (arr. Walters) · This Little Light of Mine (arr. Ruck).

This collection for progressing students includes art songs as well as arrangements of folksongs and spirituals. ART SONGS Anonymous: Pastime with good company · Campian: Jack and Joan · Dowland: Come again sweet love · Dowland: What if I never speed · Gibbons: The Silver Swan · Ireland: Spring Sorrow · Lawes: How happy art thou · Morley: It was a lover and his lass · Morley: Now is the month of Maying · Purcell: I attempt from love's sickness · Purcell: Nymphs and Shepherds · Quilter: Weep you no more · Vaughan Williams: The Call · Vaughan Williams: Bright is the ring of words · FOLKSONGS/SPIRITUALS All Through the Night (arr. Nicholl) · The Gospel Train (Walters) · Greensleeves(arr. Stanley) · He's Got the Whole World in His Hands (arr. Boyd) · How Can I Keep from Singing (arr. Ruck) · I gave my love a cherry (arr. Dean) · Jacob's Ladder (arr. Walters) · My Lord What a Mornin' (arr. Burleigh) · Shenandoah (arr. Walters) · Sometimes I Feel Like a Motherless Child (arr. Walters) · This Little Light of Mine (arr. Ruck).

Par SUZUKI SHINICHI. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. Titles: 'A Little Fairytale' (Rönnberg), 'Allegretto' (Czerny), 'Amaryllis' (Ghys), 'Chant Arabe' (Anonymous), 'Cuckoo' (German Folk Song), 'Go Tell Aunt Rhody' (Folk Song), 'Gossip Tune' (German Folk Song), 'Herdsman's Song' (Danish Folk Song), 'Hippopotamus' (Rönnberg), 'Hot Dog' (English Folk Song), 'Lightly Row' (German Folk Song), 'Little Playmates' (Chwatal), 'Little Snail' (Traditional), 'London Bridge' (English Folk Song), 'Lullaby' (German Folk Song), 'Mary Had a Little Lamb' (Folk Song), 'My School Day' (Folk Song), 'Paris' (French Folk Song), 'Piglet' (G. Rönnberg, 'Song of the Wind' (Folk Song), 'Spain' (Traditional), 'The Fly' (Traditional), 'The Musical Box' (Rönnberg), 'Twinkle, Twinkle, Little Star Theme and Variations' (Suzuki). 'Allegretto,' 'Go Tell Aunt Rhody,' and 'Lullaby' are National Federation of Music Clubs Festivals Bulletin 2016--2020 selections. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. / Méthode / Méthode / Orgue

editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)

For Tenor, Alto, Three Female Voices et Piano. Par JANACEK LEOS. Janacek's intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices/female choir SSA are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the Diary was premiered in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscript served as abasis for the first edition which was issued by the Brno publisher Oldrich Pazdirek in 1921 as well as for this current first Urtext edition. Janácek ’s intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the “Diary” was premièred in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscriptserved as a basis for the first edition which was issued by the Brno publisher Oldrich Pazdírek in 1921 as well as for this current first Urtext edition. First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor Singing translations in German (by Max Brod) and English (by Bernard Keefe) Numbers IX to XI which include the alto and three female voices also available online / Niveau : 4 / Répertoire / Ténor, Alto, 3 Voix de Femme et Piano

This quartet collection of 13 keyboard, vocal and instrumental pieces covering the Renaissance to the Romantic periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings, and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes sacred music fun! Contains: Adoramus Te (We Adore Thee) (Palestrina) * Amen (Stainer) * Cherubim Song (Archangelsky) * Chorale (Bach) * Deep River (Anonymous) * Gloria Patri (Purcell) * Go Down, Moses (Anonymous) * God Of Our Fathers (Warren) * Missa Apostolorum (Cavazzoni) * Old Hundredth (Bourgeois) * Onward, Christian Soldiers (Sullivan) * The Quest (Marianlieder) *Shir Hamaalot (Anonymous).

Anonymous Folk Poem-Soprano, Recorder (Soprano, Treble and Tenor Recorders) 1 player-2 playing score. Par FRANCES-HOAD CHERYL. Commissioned by John Turner for Gordon Crosse's 80th Birthday concert at The Martin Harris Centre, Manchester University, 22nd October 2017. Premiered by Lesley-Jane Rogers (soprano) and John Turner (Soprano, Treble and Tenor recorders). I'll have the Whetstone for soprano and recorder was written especially for Gordon on his 80th Birthday. When trying to find a text to set for the work, John Turner suggested I turn to The Guizer by one of Gordon's longtime friends, Alan Garner. In fact this book, which is a collection of stories about fools (!) was dedicated to Gordon! The anonymous folk poem that I chose immediately appealed to me and I had great fun setting the whimsical lines! / Date parution : 2022-02-03/ Répertoire / Flûte à Bec

Arranged for SSSAAATTTBBB the lyrics are from an anonymous writer of the fourteenth century and have been adapted by the composer.The composer says: 'Woefully arrayed is a supreme choral setting by William Cornysh Junior who died in 1523 of a text usually regarded as of anonymous composition though there have been some attributions to John Skelton. It is a thoughtful powerful meditation on Christ on the Cross and though Cornysh’s setting has remarkable intensity and contrapuntal artistry I felt a strong wish to add my own response to this fine text. The different versions of it have different verses that used by Cornysh has three verses (plus therefrain) while there are others with four or even five (one attributed to Skelton has five). I have chosen to restrict myself to the three used by Cornysh using my own adaptation of the modernised words which yet incorporates some archaisms a deliberate choice for reasons of rhythm and verbal sound. This setting was commissioned by the Three Choirs Festival 2009 for Stile Antico to whom it is dedicated.''Difficult to perform but not difficult to listen to this 2009 Three Choirs Festival commission was first performed by Stile Antico who have since toured it. It is a heartfelt response to the fourteenth-century text passionate and anguished Christ is on the cross ‘woefully arrayed’. Although written for a secular choir it is a piece that could be sung by many cathedral and collegiate choirs: there is considerable doubling between the sixteen lines and a keyboard reduction to help the initial sorting out. Above all it is dramatic and would communicate directly to audiences if given a chance to hear it.'       - James L Montgomer RSCM review

Mark Hayes has set this anonymously written popular text to a wonderful tune with rich accompanimentInstrumentation available (HMC2007a): Fl Ob Bb Clarinet Bsn/BassClarinet (Sub.) Hn in F Percussion and Full Score

Ravel's 'Valses nobles et sentimentales? created a stir when they were anonymously premiered in Paris's Société nationale indépendante in 1911: many listeners thought they were by Satie, or even Kodály!For our new Urtext edition of this work, the famed musicologist Nicolas Southon, a co-editor of the 'oeuvres Complètes de Gabriel Fauré?, has examined a large body of sources to present a musical text with many new readings.The edition contains fingering and performance notes by the French pianist Alexandre Tharaud, one of today's leading interpreters of Ravel's music. Commentaries by pianists closely associated with Ravel, such as Lucian Garban, Vlado Perlemuter, Robert Casadesus and Jacques Février are also included.- Detailed trilingual preface (Fr/Eng/Ger) and Critical Commentary (Eng)- Optimum page turns- Includes a glossary (Fr/Ger/Eng) / Piano

Full Score- Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund.   Composer's note:   Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet  Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence.    Duration approximately: 40 Minutes  

Wacht! Euch Zum Streit Gefasset Macht. Par BUXTEHUDE DIETRICH. There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jüngste Gericht, for St. Mary’s Church in Lübeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. / Oratorio / Répertoire / Solistes SSSATB, Choeur SSATB, 2 Violons, 2 AltoS