Fun, Fun, Fun! (On December Five and Twenty)

We've updated this outstanding collection of country songs to include even more of your favorites - 79 in all! Featuring: Always On My Mind * Behind Closed Doors * Could I Have This Dance * Crazy * Daddy Sang Bass * D-I-V-O-R-C-E * Forever And Ever, Amen * God Bless The U.S.A. * Grandpa (Tell Me 'Bout The Good Old Days) * Help Me Make It Through The Night * I Fall To Pieces * If We Make It Through December * Jambalaya (On The Bayou) * Love Without End, Amen * Mammas Don't Let Your Babies Grow Up To Be Cowboys * Stand By Your Man * Through The Years * and more. / Piano

MusicWorks – Grade 5 This hauntingly beautiful piece by Fauré was commissioned by the French government in 1921 as a memorial for the centenary of Napoleon's death. It has been magnificently orchestrated forwind band by Myron Moss and is already garnering national attention with several important performances including The Midwest Clinic in Chicago December 2003. Expansive and rich-sounding this piece demands a mature group butdelivers an impressive and rewarding musical experience. (7:30)

“Fun der alte welt” (“From the Old World”) is based on familiar Yiddish tunes such as Der rebbe tanzen and Oyfn Pripetchik. In celebration of its 10th Anniversary Season the Pittsburgh Jewish MusicFestival presented a special chamber music recital on December 17 2012. The program which featured the world premiere of “Fun der Alte Welt ” was part of the Music at Rodef Shalom concert series.

The music of Igor Stravinsky's Funeral Song op.5 composed by the young composer as an orchestral memorial to his teacher Nikolai Rimsky-Korsakov disappeared after just one performance in 1909. Following its rediscovery in 2015 and world premiere in St Petersburg last December orchestras around the world have swiftly added Funeral Song into their current seasons.   The Funeral Song score has been reconstructed from the complete set of parts by Dr. Natalia Braginskaya and the St Petersburg Conservatory in collaboration with Stravinsky?s publisher Boosey and Hawkes. This new addition to the iconic HawkesPocket Score range provides a unique insight into the music of the young Stravinsky before he found international success with his ballet The Firebird.   The Hawkes Pocket Score edition of Stravinsky?s Funeral Song op.5 is an essential addition to the collections of all musicologists scholars students and music lovers.

When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.

When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.

When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.

Score-John Jacob Niles' I Wonder As I Wander arranged for Orchestra.This Christian folk hymn was inspired by a song heard by Niles at a fundraising meeting for evangelicals which he attendedin Murphy North Carolina. Niles wrote of the moment he first heard the tune:'A girl had stepped out to the edge of the little platform attached to the automobile. She began to sing. Her clothes wereunbelievable dirty and ragged and she too was unwashed. Her ash-blond hair hung down in long skeins.... But best of all she was beautiful and in her untutored way she could sing. She smiled as she sang smiled rather sadly and sang only a single line of a song'.Niles requested that the girl repeat the fragment seven times paying her a quarter per performance and left with 'three lines of verse a garbled fragment ofmelodic material—and a magnificent idea'. He completed his composition on October 4 1933 and I Wonder As I Wander was first performed on December 19 1933 at the John C. Campbell Folk School in Brasstown North Carolina.This melodic arrangement by Michael Brown offers an opportunity for every group of instruments to shine making it an excellent choice for school concerts or showcases.

Score-John Jacob Niles' I Wonder As I Wander arranged for Concert Band.This Christian folk hymn was inspired by a song heard by Niles at a fundraising meeting for evangelicals which heattended in Murphy North Carolina. Niles wrote of the moment he first heard the tune:'A girl had stepped out to the edge of the little platform attached to the automobile. She began to sing. Her clothes wereunbelievable dirty and ragged and she too was unwashed. Her ash-blond hair hung down in long skeins.... But best of all she was beautiful and in her untutored way she could sing. She smiled as she sang smiled rather sadly and sang only a single line of a song'.Niles requested that the girl repeat the fragment seven times paying her a quarter per performance and left with 'three lines of verse a garbled fragment ofmelodic material—and a magnificent idea'. He completed his composition on October 4 1933 and I Wonder As I Wander was first performed on December 19 1933 at the John C. Campbell Folk School in Brasstown North Carolina.This beautifully flowing arrangement by Bob Krogstad conjures up an atmosphere of wistful contemplation.

John Tavener's Sollemnitas In Conceptione for Soloists Double SATB Chorus and Orchestra.This work was commissioned by festival religio musica nova the Zürcher Kammerorchester and Saint Thomas? Church FifthAvenue New York. First performance on 8th December 2007 at Großmünster Zürich by the Rundfunkchor Berlin and Zürcher Kammerorchester conducted by Simon Halsey. USA premiere on 7th March 2008 at Saint Thomas? Church by TheSaint Thomas Choir of Men and Boys and The Orchestra of St. Luke?s conducted by John Scott.Duration: 100 minutes

I Wonder As I Wander by John Jacob Niles arranged by Keith Christopher for SATB chorus with Piano accompaniment and optional Flute.This Christian folk hymn was inspired by a song heardby Niles at a fundraising meeting for evangelicals which he attended in Murphy North Carolina. Niles wrote of the moment he first heard the tune:'A girl had stepped out to the edge of the littleplatform attached to the automobile. She began to sing. Her clothes were unbelievable dirty and ragged and she too was unwashed. Her ash-blond hair hung down in long skeins.... But best of all she was beautiful and in heruntutored way she could sing. She smiled as she sang smiled rather sadly and sang only a single line of a song'.Niles requested that the girl repeat the fragment seven times paying her a quarter perperformance and left with 'three lines of verse a garbled fragment of melodic material—and a magnificent idea'. He completed his composition on October 4 1933 and I Wonder As I Wander was firstperformed on December 19 1933 at the John C. Campbell Folk School in Brasstown North Carolina.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

To some the tragic story of the Penlee lifeboat Solomon Browne would need no introduction and to some the pain felt is still very much a reality. The composer born just a few weeks before that fateful night on the 19th December 1981 has created this work as a musical homage to the bravery of the souls who lost their lives and has dedicated it to their memory. Penlee was commissioned by the Cornwall Youth Brass Band using funds bequeathed by Michael Pickett. The first performance was given by the Cornish Youth Brass Band conducted by Ian Porthouse at St. Michael’s Church Newquay on 30th December 2008. Penleehas been voted into the Classic FM Hall of Fame 2011 at No.106. Not only is it the first time a brass work has been featured in the Hall of Fame but it was also the highest new entry. The work has subsequently been recorded by the Leyland Band conducted by Jason Katsikaris on the CD entitled Penlee .Brass Band Grade 4: Advanced Youth and 3rd Section Duration: 13 minutes