SKU: SU.80400421
SATB, Unison Childrens Chorus, a cappellaDuration: 3:00Commissioned by: Rev. Michael J. O'Connell, Rector of the Basilica of Saint Mary in Minneapolis, MinnesotaDedication: A sacred Holocaust memorial oratorio, to be rooted in themes and subjects of mutual interest to the Jewish and Christian faith communitiesPremiered by: Basilica of Saint Mary, the Minnesota Orchestra, the Basilica Cathedral Choir, and the Basilica Children's Choir on November 17, 18 and 19, 2005 at the Basilica of Saint MaryCopyright 2005Text author: Michael Dennis Browne Published by: Paulus Publications (SP456.c) Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: SU.80400420
SATB, Unison Childrens Chorus, a cappellaDuration: 3:00Commissioned by: Rev. Michael J. O'Connell, Rector of the Basilica of Saint Mary in Minneapolis, MinnesotaDedication: A sacred Holocaust memorial oratorio, to be rooted in themes and subjects of mutual interest to the Jewish and Christian faith communitiesPremiered by: Basilica of Saint Mary, the Minnesota Orchestra, the Basilica Cathedral Choir, and the Basilica Children's Choir on November 17, 18 and 19, 2005 at the Basilica of Saint MaryCopyright 2005Text author: Michael Dennis Browne Published by: Paulus Publications (SP456) Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: BT.DHP-0920404-010
This suite was composed by Jan Van der Roost on the occasion of the 110th anniversary of the ‘Koninklijke Sint Martinusfanfare’ (Royal Saint Martinus Fanfare Band) from Halle (Belgium). The composer was required to create a suite in three movements based on three images associated with the ‘Sint Martinusfanfare’ from the small town of Halle in the province of Brabant. The first movement (Andante Pomposo) describes Martin, a soldier in the Roman army. In Andante Moderato we see the image of Martin, who become a Christian and chooses to devote his life to God. In this movement, the composer was inspired by the Brabantine gothic art of the Sint Martinus Basilica in Halle. Thecontrast between the dark Basilica and the statue of Our Lady between the soaring pillars will vividly come to life for audiences of this descriptive piece. The final movement, Allegro Molto Vivace’, could have been an image for a frivolous peasant in the Halle carnival. In a triptych about St. Martin it is more fitting to refer to it as an apotheosis, the crown on the pastoral work of Martin, Bishop of Tours, Patron Saint of the Fanfare Band and the Basilica of Halle. Jan Van der Roost komponierte diese Suite anlässlich des 110. Geburtstages der Koninklijke Sint Martinusfanfare aus Halle (Brabant).Auftrag des Komponisten was es, ein dreisätziges Werk zu schreiben, dessen einzelne bildhafte Teile einen Bezug zur Sint Martinusfanfare herstellen sollten. Der erste Satz, ein Andante Pomposo, beschreibt Martin, Soldat im römischen Heer. Das darauffolgende Andante Moderato zeichnet ein Bild von Martin, der sich zum Christentum bekehrt und sein Leben Gott widmen möchte. In diesem Satz ließ sich derKomponist von der brabantischen Gotik der Sint Martinus Basiliek in Halle inspirieren. Der Kontrast zwischen der dunklen Basilika und der von hoch emporstrebenden Pfeilern umgebenen, strahlenden Statue der Mutter Gottes wird für den Zuhörer in diesemausdrucksvollen Bild leicht nachvollziehbar.Der Schlusssatz, ein Allegro Molto Vivace, hätte die musikalische Beschreibung eines ausgelassenen Bauerntanzes während des Karnevalsumzugs in Halle sein können. In einem dem Heiligen Martin gewidmeten Triptychon ist es jedoch angemessener, in einerApotheose darauf zu verweisen, als Krönung des pastoralen Wirkens des Heiligen Martin, Bischof von Tours, Schutzheiliger des Auftraggebers und Stifter der Basilika in Halle.
SKU: BT.DHP-0920404-020
SKU: SU.80400412
SSAATTBB, SSA Choruses, Soloists, 2222; 1(Shofar); 4331; timp, perc, hp, pno; stgsDuration: 60:00 Commissioned by: Minnesota Orchestra and The Basilica of St. Mary Dedication: A Holocaust Memorial Oratorio to honor two important anniversaries: the 60th anniversary of the liberation of the Nazi death camps and the 40th anniversary of the publication of Nostra Aetate (Latin for In Our Times), the seminal Vatican II document that condemned blaming Jews for the death of Christ Premiered by: The MN Orch and Basilica of St. Mary Choirs, plus 4 soloists. Osmo Vänskä, Music Director and Conductor. Soloists Norah Long,soprano; Christina Baldwin, mezzo soprano; Daniel Cardwell, tenor; Tim Krol, bass; Teri Larson, chorus director Copyright 2005Text author: Michael Dennis Browne Published by: Paulus Publications (SP455.ssa)Performance materials available on rental only from the.
SKU: SU.80400411
SSAATTBB, SSA Choruses, Soloists, 2222; 1(Shofar); 4331; timp, perc, hp, pno; stgsDuration: 60:00 Commissioned by: Minnesota Orchestra and The Basilica of St. Mary Dedication: A Holocaust Memorial Oratorio to honor two important anniversaries: the 60th anniversary of the liberation of the Nazi death camps and the 40th anniversary of the publication of Nostra Aetate (Latin for In Our Times), the seminal Vatican II document that condemned blaming Jews for the death of Christ Premiered by: The MN Orch and Basilica of St. Mary Choirs, plus 4 soloists. Osmo Vänskä, Music Director and Conductor. Soloists Norah Long,soprano; Christina Baldwin, mezzo soprano; Daniel Cardwell, tenor; Tim Krol, bass; Teri Larson, chorus director Copyright 2005Text author: Michael Dennis Browne Published by: Paulus Publications (SP455.pv)Performance materials available on rental only from the.
SKU: BR.MR-2240
ISBN 9790004487884. 9 x 12 inches.
Giuseppe Torelli was born in Verona, Italy in 1658. He was a famous violinist, teacher, and composer. His career allowed travels to Germany and Vienna, but centered in Bologna, Italy, where he was a violinist and violist in the Accademia Filarmonica and later, worked as a musician at the Basilica San Petronio. Torelli was an especially important figure in the development of the instrumental concerto, with particular emphasis on both the solo concerto and concerto grosso forms.The Sinfonia in D Major (G21) is a piece originally scored for one or two trumpets, first and second solo violins, first and second ripieno violins, solo viola, ripieno viola, violoncello ripieno, violoncello continuo, violone ripieno, and organo.The exact date of the composition is not known, but the work is presumed to have been completed in the latter period. This edition is based on the autograph manuscript located in the musical archives at the Basilica San Petronio in Bologna, Italy.
SKU: SU.80400413
SSAATTBB, SSA Choruses, Soloists, 2222; 1(Shofar); 4331; timp, perc, hp; stgsDuration: 60:00 Commissioned by: Minnesota Orchestra and The Basilica of St. Mary Dedication: A Holocaust Memorial Oratorio to honor two important anniversaries: the 60th anniversary of the liberation of the Nazi death camps and the 40th anniversary of the publication of Nostra Aetate (Latin for In Our Times), the seminal Vatican II document that condemned blaming Jews for the death of Christ Premiered by: The MN Orch and Basilica of St. Mary Choirs, plus 4 soloists. Osmo Vänskä, Music Director and Conductor. Soloists Norah Long,soprano; Christina Baldwin, mezzo soprano; Daniel Cardwell, tenor; Tim Krol, bass; Teri Larson, chorus director Copyright 2005Text author: Michael Dennis Browne Published by: Paulus Publications (SP455.st)Performance materials available on rental only from the.
SKU: BT.DHP-1063974-010
9x12 inches. English-German-French-Dutch.
Here is your chance for some audience participation within your concert programme. The big Summer ??hit?? of 1995 was the Bayside Boys with their version of a modern Spanish song. Can you remember the moves? If so, why not demonstrate them and invite your audience to join in with this scintillating arrangement. Guaranteed to bring the house down! In Sevilla ligt de kleine Basilica de Macarena, oftewel de basiliek van de heilige maagd - de beschermheilige van de toreros. Stierenvechters komen hier bidden en brengen offergaven voor ze de arena betreden. La Virgen de la Macarenavan Bernardino Bautista Monterde, onsterfelijk gemaakt door de grote trompettist Rafael Mendez, roept de sfeer van bewondering en bezetenheid van de stierengevechten op.La Virgen de la Macarena?? lautet der originale Titel dieses Stückes von Bernardo Bautista Monterde, das eine Marienprozession im spanischen Sevilla beschreibt. Die Melodie wurde bereits in mehreren Soundtracks, wie zum Beispiel zu den Filmen FOOLSRUSH IN (Herz über Kopf) und FORCES OF NATURE (Auf die stürmische Art) verwendet. Ein glänzender Auftritt für Ihren Solotrompeter und das gesamte Blasorchester!Somptueuse construction moderne, la basilique de la Macarena est célèbre pour la Vierge de la Macarena, déesse sévillane la plus vénérée et sainte patrone des toreros. La passion et la faveur inconditionnelle de la population sévillane pour la Vierge de la Macarena se retrouve tous les ans lors de la Semaine Sainte. Immortalisée par le grand trompettiste Rafael Mendez, La Virgen de la Macarena de Bernardo Bautista Monterde évoque l??émerveillement et la frénésie des corridas.Sontuosa costruzione moderna, la basilica della Macarena è celebre per la Vergine della Macarena, venerata a Siviglia e protettrice dei toreri. La passione e la venerazione incondizionata della popolazione per la Vergine della Macarena si rinnovano ogni anno in occasione della Settimana Santa. Immortalata dal grande trombettista Rafael Mendez, La Virgen de la Macarena di Bernardo Bautista Monterde evoca la frenesia delle corride.
SKU: PR.114410790
ISBN 9781491112687. UPC: 680160015580. 9 x 12 inches.
THREE MYSTERIES OF NAGASAKI was inspired by the eerie darkness and ambiguous bells of the oldest Western church in Japan. Dorff’s program note describes impressions of his visit to Nagasaki while withholding any explanation of the three movements. The 13-minute work is a duo for violin and one percussionist, with an array of pitched and unpitched ringing metallic instruments plus bass drum.THREE MYSTERIES OF NAGASAKI was inspired by the ambiguous bells of the oldest Western church in Japan.In an island nation that used to thrive on isolation from the rest of the world, Nagasaki has long been a vulnerable exception. From the 16th through 19th centuries, it was Japan’s only international port, open to Portuguese and Dutch traders. From this sole crossroads, Christianity (along with European food, flowers, and language) began flowing into the otherwise insular culture. The US Navy’s presence in the 1800s added to Nagasaki being Japan’s exposed Achilles’ heel, which may be why Puccini’s Madama Butterfly is set in this city, with Cho-Cho-San’s vulnerability symbolizing the risk of openness to Western influence.I’ve had occasion to visit Nagasaki, and have never felt so haunted. Aside from the unspeakable atrocity of 1945 and the lasting presence of that horror, there also remains a mysterious air of not really being in pure Japan, or in the present day. Nowhere was this more obvious than within the Ōura Basilica, the earliest Christian church built in Japan. Decades after visiting the basilica, I still recall its oddly distorted and slowly pealing bells, and timeless incense floating in relative darkness. The mysterious bells have stayed with me both for their own sonority, and as a subconscious reminder of everything Nagasaki is and was.Composed for a violinist-percussionist couple who ended a decades-long relationship just as I completed the work (and never performing it), it was originally called simply THREE MYSTERIES; I couldn’t make a direct reference in the title because it felt too raw. Looking back years later, the updated title THREE MYSTERIES OF NAGASAKI seems to ask more questions than it answers.
SKU: BT.DHP-1063974-140
Here is your chance for some audience participation within your concert program. The big Summer ‘hit’ of 1995 was the Bayside Boys with their version of a modern Spanish song. Can you remember the moves? If so, why not demonstrate them and invite your audience to join in with this scintillating arrangement. Guaranteed to bring the house down! In Sevilla ligt de kleine Basilica de Macarena, oftewel de basiliek van de heilige maagd - de beschermheilige van de toreros. Stierenvechters komen hier bidden en brengen offergaven voor ze de arena betreden. La Virgen de la Macarenavan Bernardino Bautista Monterde, onsterfelijk gemaakt door de grote trompettist Rafael Mendez, roept de sfeer van bewondering en bezetenheid van de stierengevechten op.La Virgen de la Macarena“ lautet der originale Titel dieses Stückes von Bernardo Bautista Monterde, das eine Marienprozession im spanischen Sevilla beschreibt. Die Melodie wurde bereits in mehreren Soundtracks, wie zum Beispiel zu den Filmen FOOLSRUSH IN (Herz über Kopf) und FORCES OF NATURE (Auf die stürmische Art) verwendet. Ein glänzender Auftritt für Ihren Solotrompeter und das gesamte Blasorchester!Somptueuse construction moderne, la basilique de la Macarena est célèbre pour la Vierge de la Macarena, déesse sévillane la plus vénérée et sainte patrone des toreros. La passion et la faveur inconditionnelle de la population sévillane pour la Vierge de la Macarena se retrouve tous les ans lors de la Semaine Sainte. Immortalisée par le grand trompettiste Rafael Mendez, La Virgen de la Macarena de Bernardo Bautista Monterde évoque l’émerveillement et la frénésie des corridas.Sontuosa costruzione moderna, la basilica della Macarena è celebre per la Vergine della Macarena, venerata a Siviglia e protettrice dei toreri. La passione e la venerazione incondizionata della popolazione per la Vergine della Macarena si rinnovano ogni anno in occasione della Settimana Santa. Immortalata dal grande trombettista Rafael Mendez, La Virgen de la Macarena di Bernardo Bautista Monterde evoca la frenesia delle corride.
SKU: BA.BVK02137
ISBN 9783761821374. 24.5 x 17.5 cm inches. Text Language: Italian.
One of the major institutions of sacred music, the Cappella Giulia at St. Peter's Basilica, can look back on a five-hundred-year history. Now Giancarlo Rostirolla brings this turbulent and spellbinding history to life using original documents from the Papal Library and the chapter archives of Saint Peter in the Vatican.The Cappella Giulia was founded by Pope Julius II in 1513. Its chapel masters were the most important representatives of Roman vocal polyphony, above all Giovanni Animuccia and Giovanni Pierluigi da Palestrina, Francesco Soriano, Virgilio Mazzocchi, Orazio Benevoli, Paolo Lorenzani and Pietro Bencini. Also employed there were such opera composers as Domenico Scarlatti, Niccolò Jommelli and Nicola Zingarelli, the proponents of Italian Cecilianism up to Armando Renzi, and such renowned organists as Girolamo Frescobaldi.In this documentary history, as comprehensive as it is exciting to read, Giancarlo Rostirolla pays tribute to the Cappella Giulia as a musical institution of extraordinary historical importance and the vehicle for half a millennium of sacred music. For decades the author, an internationally acclaimed authority on Rome's musical traditions, has immersed himself like few others in the church and chapel archives, libraries and music collections of the Eternal City.– For the first time these two volumes explore the history of the Cappella Giulia with information on all the musicians known to have worked there, together with their biographies, lists of compositions and documents on the chapel's history.
SKU: PR.UE038102
SKU: HH.HH433-FSP
ISBN 9790708146391.
Giuseppe Torelli (1658–1709) was the reputed father of the instrumental concerto; what is not widely known is that he also composed sacred vocal music. Discovered in 2001, when the Berlin Sing-Akademie’s archive was returned from Kiev (where it had been hidden away since the Second World War), his four-movement motet Ite, procul abite, maestitiae (‘Go, begone, sadness’) for soprano, two violins and continuo is a splendid example of its genre. Torelli probably wrote it at Ansbach during a brief interregnum around 1700 when his employer, the Basilica di San Petronio in Bologna, temporarily suspended its orchestra, leaving its members to seek their fortune elsewhere. This exciting and technically challenging work, full of exquisite touches, reaches the heights of similar motets by Alessandro Scarlatti and looks forward to Vivaldi.
SKU: HL.49045227
ISBN 9790001203654. UPC: 841886025318. 9.0x12.0x0.155 inches.
As inspiration for his Organ Symphony No. 14, Enjott Schneider draws from the atmosphere and the Romanesque style of the Imperial Cathedral of Speyer: the massive walls, the round arches, the western belfry. The work requires a large organ with at least three manuals.
SKU: CA.2720249
ISBN 9790007200985. Language: Latin.
During his tenure under Pope Urban VIII Virgilio Mazzocchi was among the most renowned musicians of Rome. He directed the Cappella Giulia in St. Peters Basilica for 17 years. He also organized the musical activities at the court of the Pope's influential nephew, Francesco Barberini. The Psalmi Vespertini, Mazzocchi's most important sacred work, were published two years after his death. This collection contains two complete vesper cycles for double choir with a basso continuo accompaniment. At the conclusion of the first vesper cycle, in the predominately festive setting of the Magnificat, Mazzocchi displays his artistry in the old and new styles by combining contrapuntal choral sections with concertante passages. The new Carus edition of this work presents a most significant and impressive document of Roman church music in the first half of the 17th century. Score and part available separately - see item CA.2720200.
SKU: GI.G-4192
SKU: UT.HS-231
ISBN 9790215324558. 9 x 12 inches.
Tarascone; Tarantella Capuanese; Valzer; Polka di Vittorio; Tarantella StiglianeseThe history of the Viggianesi, strolling musicians, winds over a period of about four centuries and esprimeun ‘unicum’ musically and anthropologically. Heirs of a travelling musical tradition that from the late Middle Ages inhabited more than just the streets of the Kingdom of Sicily and Naples, the harpists of this extraordinary story made their first appearances as early as the end of the 1600s engaged in musical practices at shrines.Armed with an urgent need to make a living together with a strong musical inclination, adaptability and versatility, the groups of musicians, almost always belonging to the same family circle, became the promoters of the great Italian musical tradition (Southern in particular), and with their harps on their shoulders they became the identification symbol of a well-defined and limited area of Italy: the Agri Valley, in Basilicata.From the many documents examined, a very wide and varied musical repertoire emerges mixing the pastoral tradition with classical tradition (mainly opera, devotional music with songs from the cities (from the Neapolitan tradition to international production). The pastoral repertoire, the subject of this publication, consists of a strongly characterized native repertoire which the Viggianesi had consolidated in both public and private ritual occasions in their native land, even if performing in distant lands.This collection is included among the compulsory pieces of The 7th International Harp Contest in Italy Suoni D’Arpa, 2017, Category A – Associazione Italiana dell’Arpa – www.associazioneitalianarpa.it
SKU: GI.G-1049
UPC: 785147004929.
James Jordan and The Same Stream should be commended for this album. The Same Stream succeeds in presenting this collection of twenty-first century choral music with a high degree of technical accuracy. Their sectional balance is nearly perfect, and contains impeccable intonation. The performances on this recording should have a wide appeal to twenty-first century choral music enthusiasts. — Gerrit S.C. Scheepers, Indiana, PA Choral Journal (September 2020) These tracks represent the first full CD of a new American choral ensemble: The Same Stream. The choir’s very existence is the living result of questions regarding what it means to sing together within a deeply “knitted” community, a community that shares answers to commonly held questions and beliefs about what creates a truly human resonance within and among singers. For me, this ensemble is a continuation of beliefs that have been my North Star all of my career. To hear those questions answered and dreams become a reality with the establishment of The Same Stream choir is deeply humbling, gratifying and life affirming. It is our hope that these recordings enrich those who hear them—as much as making them has made our lives deeper and more meaningful. — James Jordan, Artistic Director and Conductor of The Same Stream www.thesamestreamchoir.com Recorded in the unparalleled Cathedral Basilica of Saints Peter and Paul in Philadelphia, The Same Stream's debut full-length recording, Songs of the Questioner, features music by outstanding living composers with a personal connection to the ensemble. Music by Thomas LaVoy, Paul Mealor, Peter Relph, and Dan Forrest help the listener to explore those deep and important questions that follow us throughout our entire lives.
SKU: GI.G-2745
Scripture: Ezekiel 37:27, Matthew 17:5, Luke 2:32.
SKU: CA.2707703
ISBN M-007-24595-5. Latin.
Amilcare Ponchielli (1834-1886) is known nowadays mainly as an opera composer and the composition teacher of Giacomo Puccini and Pietro Mascagni. He scored his greatest success in 1876 at La Scala Milan with the opera La Gioconda, a work which is still in the repertoire of the major opera houses. Ponchielli's sacred works were composed in his later years, when he was maestro di cappella at the Basilica di Santa Maria Maggiore in Bergamo. There his Mass in A major op. 20 (also known as Messa per la notte di natale) was premiered on Christmas Day 1882. The Mass is captivating because of its flowing, singable melodies, rich harmonies, and warm tonal colors. The important role given to the chorus, with which the three male soloists interact closely, is striking. The first music edition of the Messa is a real discovery for choirs with good male voices; the second tenor part can largely be sung by the baritones.
SKU: GI.G-2695
SKU: UT.ODH-35
ISBN 9790215322578. 9 x 12 inches.
L’amorosa caccia is a collection of 24 madrigals for five voices, created specially by as many composers originating from Mantua. All were distinguished professional people, working within the church, at court or in the Palatine basilica of Saint Barbara, and music lovers of noble birth from the area who were somehow connected to the Academy of the Invaghiti, or perhaps part of the same. Among the established musicians of the collection are to be mentioned: G.M. Bacchino, H. Baccusi, P. Cantino, A. Coma, G. Moro, S. Nascimbeni, A. Nuvoloni, N. Parma, G.B. Recalchi, F. Rovigo, A. Striggio, R. Trofeo. The lesser-known, however, seem to be: C. Accelli, E. Ceruti, S. Cressoni, P. Marni, A. Preti, while the following: H. Borelli, C. Ceruti, O. Grassi, P. Massari, G.B. Orto, F. Ramesini, C. Zucca have become known as composers only thanks to L’amorosa caccia. The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text. There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the concerti di dame of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.
SKU: HL.50489335
ISBN 9790080078860. 7.5x10.75x0.531 inches. Latin. Imre Sulyok.
Liszt composed the Missa Solennis in 1855 for the consecration of the Basilica in Esztergom. It is usually called the Graner Messe after 'Gran', the comtemporary German name Esztergom. The first performance took place there on 31 August 1856. (Hungaroton HCD 11861)
Territorial restrictions may apply. Please ask before ordering. Liszt schrieb die Missa Solennis zur Einweihung der Kathedrale von Esztergom (Gran) im Jahre 1855. Daher die verbreitete Benennung: Graner (Esztergomer) Messe. Ihre erste Auffuhrung fand dort am 31. August 1856 statt. (Hungaroton HCD 11861).
