The Silent Word

Uses: Holy Week Good FridayScripture: Matthew 26:62-63; Acts 8:32; Isaiah 53:7A heartrending moment in the life of Jesus is presented in this Holy Week offering. The One who spoke the universe intoexistence is silent before Pilate and His accusers and we see in vivid detail His tender mercy. The plaintive cello line counterpoints with the flowing piano while gentle vocal writing creates a spirit of reverence andcontemplation. The B section incorporates the moving spiritual He Never Said a Mumblin' Word. The dramatic ending with its creative use of silence will leave the audience breathless.

This work takes both its name and inspiration from a lighthouse ?Sword Cape? that keeps watch near Japan?s naval base. The piece describes how come rain or shine the lighthouse bids a safe journey to departing ships guides them during their travels and eventually welcomes them home again. The music evokes many musical images - grand ships sailing by white-capped waves the deep blue of the ocean and the light of ?sword cape? as it silently guides ships over the mysterious waters.

Par BEDINGFIELD NATASHA. La correspondance songbook album pour accompagner de cette étoile montante numéro un premier album mettant en vedette les hits ' These Words ', ' Simple ' et ' I Bruise facilement '. Unwritten parvient à cette ligne difficile la bande de roulement entre les chansons pop fantastiques, accrocheurs et une certaine fraîcheur, ce qui n'est pas un mince exploit. L'écriture est excellente, et cet ouvrage devrait être des favoris pour les fans et les joueurs alike, pendant de nombreuses années à venir./ Recueil / Piano, Chant et Guitare

Paperback-The words are in both English and German. The arrangement is inventive and sensitive to the original with easy vocal parts and colourful orchestral parts. Material is available on hire. There is also a version for SSA voices.

Patrick Hawes’ Factum Est Silentium was composed in 2013 and is dedicated to Andy Berry.In this five minute piece SATB choir and solo Violin combine to create a majestic soundscape. The words speak of the Archangel Michael saving heaven from the serpent with the Violin lines depicting the serpent itself.This is the part for Violin only.

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

All levels of this series of three books contain wonderful Christmas songs and fun activities. Crossword puzzles matching games and word searches with Christmas themes provide enjoyment for both students and parents alike! Each book contains a 'Chords Used in this Book' page. Titles include Angels We Have Heard on High; Auld Lang Syne; Away in a Manger; Bring a Torch Jeanette Isabella; Deck the Halls; Ding Dong! Merrily on High; The First Noel; Go Tell It On the Mountain; God Rest Ye Merry Gentlemen; Hark! The Herald Angels Sing; It Came Upon the Midnight Clear; Jingle Bells; O Christmas Tree; Silent Night; Up On the Housetop; We ThreeKings of Orient Are; What Child Is This?

Offertorium Zum Ostersonntag. Par EBERLIN JOHANN ERNST. Eberlin’s programmatic setting of the offertory “Terra tremuit” was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 [Vulgata 75], with their vivid description of the earth trembling and falling silent are Eberlin’s basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word “tremuit”. The Resurrection is depicted musically by ascending figures at the words “dum resurgere”. An Alleluia concludes the work./ Répertoire / Solistes SATB, Choeur SATB, 2 Clarines, Timbales,

Offertorium Zum Ostersonntag. Par EBERLIN JOHANN ERNST. Eberlin’s programmatic setting of the offertory “Terra tremuit” was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 [Vulgata 75], with their vivid description of the earth trembling and falling silent are Eberlin’s basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word “tremuit”. The Resurrection is depicted musically by ascending figures at the words “dum resurgere”. An Alleluia concludes the work./ Répertoire / Solistes SATB, Choeur SATB, 2 Clarines, Timbales,

Offertorium Zum Ostersonntag. Par EBERLIN JOHANN ERNST. Eberlin’s programmatic setting of the offertory “Terra tremuit” was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 [Vulgata 75], with their vivid description of the earth trembling and falling silent are Eberlin’s basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word “tremuit”. The Resurrection is depicted musically by ascending figures at the words “dum resurgere”. An Alleluia concludes the work./ Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Offertorium Zum Ostersonntag. Par EBERLIN JOHANN ERNST. Eberlin’s programmatic setting of the offertory “Terra tremuit” was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 [Vulgata 75], with their vivid description of the earth trembling and falling silent are Eberlin’s basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word “tremuit”. The Resurrection is depicted musically by ascending figures at the words “dum resurgere”. An Alleluia concludes the work./ Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Description The First Book Of Mezzo-Soprano/Alto Solos Part II Compiled by Joan Frey Boytim. Each volume contains several very easy songs, progressing to moderate difficulty. Songlist A Legend [Tchaikovsky, Pyotr Ilyich] Ah! Mio Cor (Ah! My Heart) [Handel, George Frideric] As I Went A-roaming [Brahe, May] Auf Dem Meere (On The Ocean) [Franz, Robert] Ave Verum (Jesu, Word Of God Incarnate) [Mozart, Wolfgang Amadeus] Beneath A Weeping Willow's Shade [Hopkinson, Francis] Bist Du Bei Mir (You Are With Me) [Bach, Johann Sebastian] Carmena [Wilson, H Lane] C'est Mon Ami (My Friend) [French Air/Arr. Bainbridge Christ] Clouds [Charles, Ernest] Come Ye Blessed [Gaul, Alfred] Crepuscule (Twilight) [Massenet, Jules] Danny Boy (Londonderry Air) Das Erste Veilchen (The First Violet) [Mendelssohn, Felix] Die Stille (Silence) [Schumann, Robert] Die Stille Wasserrose (The Silent Waterlily) [Fielitz, Alexander Von] Dream Valley [Quilter, Roger] Elegie [Massenet, Jules] Es Muss Ein Wunderbares Sein (It Must Be Wonderful) [Liszt, Franz] Gott Im Fruhling (Got In Springtime) [Schubert, Franz] Keine Sorg'um Den Weg (Love Finds Out The Way) [Raff, J] Maria Wiegenlied (The Virgin's Slumber Song) [Reger, Max] Mystery's Song [Purcell, Henry] Nymphs And Shepherds [Purcell, Henry] Rend'il Sereno Al Ciglio (Bring To Your Eyes) [Handel, George Frideric] Separazione (Parting) [Sgambati, Giovanni] Serenade (Sing, Smile, Slumber) [Gounod, Charles] Spring Is At The Door [Quilter, Roger] Te Deum (Vouchsafe,O Lord) [Handel, George Frideric] The Blue-bell [Macdowell, Edward] The Carol Of The Birds [Niles, John Jacob] The Lovely Song My Heart Is Singing [Goulding, Edmund] The Sleep That Flits On Baby's Eyes [Carpenter, John Alden] The Willow Song [Sullivan, Arthur] Weep No More [Handel, George Frideric] When I Have Often Heard Young Maidens Complaining [Purcell, Henry] Wind Of The Wheat [Phillips, Montague]

Based on the poems by German poet Carl Hauptmann (late Romanticism) and the English poet William Wordsworth (early Romanticism). Carl Hauptmann was in poor health as a child but highly intelligent. He studied philosophy psychology and biology. In the latter he was admitted to the degree of doctor. His marriage provided financial independence so that he could focus on his studies. Hauptmann wrote various novels plays poetry and scientific works. Night Twilight floats above the valley's night mists are hanging there's a whispering brook. Now the covering veil is lifting quite: come and look! See the magicland before our gaze: tall as dreams the silver mountains stand crossed by silent silver paths shining from a secret land. Noble pure the dreaming country sleeps. By the path the shadow black and hogh of a beach. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O my soul! Drink of solitude! Carl Hauptmann Wordsworth 'introduced' a new type of poetry based on the speech of the common man. This was his answer to the poetry of the classicism which was bound by rigid rules. His definition of poetry was: the spontaneous overflow of powerful feelings from emotions recollected in tranquility. My heart leaps up when I behold a rainbow in the sky My heart leaps up when I behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old Or let me die! The Child is father of the Man. And I could wish my days to be Bound each to each by natural piety. William Wordsworth In a truly poetic manner Harrie Janssen has transformed the contemplative thoughts of the poets into two compositions for Concert Band.