Come into His Presence: Piano: Instrumental Album

Features beautiful piano solo arrangements of 13 worship favorites: Above All ? Blessed Be the Lord God Almighty ? Blessed Be the Name of the Lord ? Breathe ? Come into His Presence ? Draw Me Close ?Give Thanks ? God Will Make a Way ? Jesus Name Above All Names ? Lord Have Mercy ? More Precious Than Silver ? Open the Eyes of My Heart ? Shout to the Lord.

Level 2A-ShowTime Piano - Hymns contains carefully selected hymns and spirituals are especially appropriate for the Level 2A pianist. The book conveys a spirit of joy celebrating the Christian faith. The arrangements primarily use C Position G Position and Middle C Position.

A Worship Experience for All Seasons-This is Integrity Music's first Praise and Worship Musical and a bestseller created by Don Moen. Titles include Give Thanks Celebrate Jesus Worthy You Are Worthy Come Into His Presence and more. Orchestration includesscore and parts for Flute 1 2 Oboe Clarinet 1 2 Bass Clarinet Bassoon Trumpet 1-3 Horn 1 2 (Alto Sax) Trombone 1 2 (Tenor Sax/Baritone Treble Clef) Trombone 3/Tuba Harp Violin Viola (Clarinet 3) Cello StringBass String Synthesizer Reduction Drums Percussion 1 2 Rhythm (Piano/Guitar/Bass). SATB CD Accompaniment Trax (Split) Rehearsal Trax (Cassette) Slide Pack Bulletin Pack (100) Poster Pack (10) Video also available.

A cura di F. Della Seta - Riduzione per canto e pianoforte-Ricordi the well-known printer of classical opera presents the works of the great opera composers in its Critical Edition practical series. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast the attempt to simulate innocence infrivolous living and the desperate search for relief from pain and anguish the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music transforming her individual fate into a universal representation of human suffering. His compassion for her however met with bigoted censure: the bourgeois public scandalized by the presence of a kept woman as a character on the stage gave the opera an icy reception at its premiere in Venice (Teatro La Fenice 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year when La Traviata was revived for another production in Venice (Teatro San Benedetto) did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves.

for violin and piano. Par CASKEN JOHN. 'Après un silence' was originally written as a work for violin and piano. The piano part was subsequently orchestrated in such a way that the work may be performed with a chamber orchestra or with an ensemble of the same forces using strings. 'The violin's opening interval of a rising sixth is the gem from which everything is developed into one extended movement.' This will become a regular presence in the violin and piano repertoire./ Répertoire / Violon et Piano

Opera Completa per canto e pianoforte - Edizione tradizionale - Testo cantato in Italiano-The hidden sadness and frustration of living as a moral outcast the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music transforming her individual fate into a universal representation of human suffering. His compassion for her however met with bigoted censure: the bourgeois public scandalized by the presence of a kept woman as a character on the stage gave the opera an icy reception at its premiere in Venice (Teatro La Fenice 6 March 183).Certainly an inferior cast for the occasion did little to help. Only the following year when La traviata was revived for another production in Venice (Teatro San Benedetto) did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves.