SKU: CA.3530269
ISBN 9790007311629. German.
None other than Johann Sebastian Bach arranged Giovanni Battista Pergolesi’s well-known Stabat Mater for performances at Leipzig’s Thomaskirche. Bach replaced the old liturgical sequence of the original with a rhymed version in German of the 51st Psalm, Tilge, Höchster, meine Sünden (God, annull all my transgression) (available from Carus under Carus 35.302).Both Pergolesi’s composition and Bach’s arrangement have only two solo vocal parts (soprano and alto). As early as the 18th century, the tradition developed of performing individual movements of the Stabat mater chorally, since some movements literally demand a choir. The presented edition now also offers this possibility for Bach’s version Tilge, Höchster, meine Sünden. Jörn Bartels has created choral versions for verses 3, 5-7 and 10-15 by adding male voices based on the basso continuo as well as Bach’s original viola part.- Bach's adaptation of the poignant Stabat Mater by Pergolesi- Suitable for small choirs and ensembles. Score and parts available separately - see item CA.3530200.
SKU: JK.00774
Isa. 7:14; 9:6-7, Luke 1:26-38, 1 Ne. 11.
Beautiful, flowing arrangement of the traditional English carol for mixed chorus (SATB) and piano.A Virgin most pure as the Prophets do tell, Hath brought forth a baby as it hath befell, To be our Redeemer from death, hell and sin, Which Adam's transgression hath wrapped us in. Composer: Traditional Carol Arranger: Richard W. Smith Difficulty: Medium Performance time: 3:00References: Isa. 7:14; 9:6-7, Luke 1:26-38, 1 Ne. 11.
SKU: CA.3530255
ISBN 9790007302696. German.
None other than Johann Sebastian Bach arranged Giovanni Battista Pergolesi’s well-known Stabat Mater for performances at Leipzig’s Thomaskirche. Bach replaced the old liturgical sequence of the original with a rhymed version in German of the 51st Psalm, Tilge, Höchster, meine Sünden (God, annull all my transgression) (available from Carus under Carus 35.302).Both Pergolesi’s composition and Bach’s arrangement have only two solo vocal parts (soprano and alto). As early as the 18th century, the tradition developed of performing individual movements of the Stabat mater chorally, since some movements literally demand a choir. The presented edition now also offers this possibility for Bach’s version Tilge, Höchster, meine Sünden. Jörn Bartels has created choral versions for verses 3, 5-7 and 10-15 by adding male voices based on the basso continuo as well as Bach’s original viola part.- Bach's adaptation of the poignant Stabat Mater by Pergolesi- Suitable for small choirs and ensembles. Score available separately - see item CA.3530200.
SKU: HL.48024347
After emigrating from Berlin at the age of 16, the Jewish composer Ursula Mamlok wrote Four German Songs in 1958 while studying at the Manhattan School of Music. Based on texts from Hermann Hesse's collection Vom Baum des Lebens, the songs reflect the uprooting from home. Mamlok juxtaposes Hesse's melancholy with an intensive tonal image which proceeds from expressionism with short motifs and tonal transgression, yet ventures into new spheres of expression.
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SKU: CA.3530250
ISBN 9790007302689. German.
SKU: AP.1-ADV6005
UPC: 805095060058. English.
Atonement commemorates the holiest day of the year in the Jewish faith, called Yom Kippur. On that day an individual repents for transgressions which may have occurred during the past year. Fasting and prayer are the activities which begin at sundown with the chanting of Kol Nidre and end twenty four hours later. Part of the piece quotes the beginning strains of Hatikvah, the Israeli national anthem. It is adaptable to any solo instrument. Solo parts are included for C concert, B-flat, E-flat, and bass clef instruments.
SKU: GI.G-10245
ISBN 9781622774487.
What are our musical sins? Are they obvious or subtle? When do we unwittingly commit such transgressions? And above all, how can we avoid them? In this sequel to his acclaimed bestselling book The Artistry of Teaching and Making Music, master teacher and conductor Richard Floyd makes a compelling case for The Seven Deadly Sins of Music Making, which he identifies and expounds upon as the following: articulation, dynamics, rhythms, tempo, line, silence, and proportion. Using dozens of excerpts from the wind band repertoire to illustrate his points, Floyd guides readers through the thorny landscape of our musical wrongdoings, offering wisdom and actionable solutions that lead to, in the words of the author, “a world of artistic, expressive music making that goes beyond the printed page.†Though the book addresses the wind band medium specifically, its observations and lessons about music making are universal. Musicians and educators in all disciplines are certain to profit from the nearly six decades of experience Richard Floyd expertly brings to the page. Richard Floyd has enjoyed a distinguished career at virtually every level of wind band performance. He most recently retired from the University of Texas at Austin and now holds the title of Texas State Director of Music Emeritus. He also serves as Musical Director and Conductor of the Austin Symphonic Band, one of the premier adult concert bands in America. He maintains an active schedule as a conductor, clinician, lecturer, and mentor.
SKU: LO.99-4130L
UPC: 000308155723.
Worthy Is the Lamb! is the compelling story of God's plan to deliver all people from the clutches of sin and death. Lloyd Larson presents this powerful reminder that Isaiah's prophetic words were fulfilled in Jesus: Surely He has borne our griefs and carried our sorrows. He was pierced for our transgressions; crushed for our iniquities; upon Him was the chastisement that brought us peace, and by His wounds we are healed (Isaiah 53:4-5). Flexibly conceived for Lent, Holy Week, or Eastertide programming, each of the three sections may be presented during the weeks or days leading up to Easter, or the entire musical may be presented a single worship experience. Small and large choirs alike will find the choral writing appealing and versatile. Accompaniment options ranging from piano only to full orchestra with CD accompaniment or live instruments ensures maximum flexibility for your unique programming needs.
SKU: SU.26160120
Trombone Choir (8-part) Duration: 4' Composed: 2012/2019 Published by: Distributed Composer.
SKU: CA.4012730
ISBN 9790007062576.
Score available separately - see item CA.4012700.
SKU: HL.48025409
UPC: 196288201595.
Written for the Pembroke College Chapel Choir in November 2022, Drop down, ye heavens is a setting of the refrain and final stanza of the Advent Prose, itself based on various portions of the Book of Isaiah. An incessant ostinato figure on the organ accompanies rich homophony in the mixed chorus (with occasional divisi), creating a sense of tension and mystery. The ostinato develops as the piece builds to its climactic phrase: 'I have blotted out as a thick cloud thy transgressions'. Here the ostinato ceases and the voices break free. However, it soon returns and the voices hush: 'Fear not, for I will save thee'. The return of the refrain text heralds a second climax ('let the skies poor down') when the ostinato and vivid harmonies modulate before a soft and content close.
SKU: LO.99-4133L
UPC: 000308155754.
SKU: LO.99-4132L
UPC: 000308155747.
SKU: MN.50-3151
UPC: 688670531514. English. Isaiah 53.
Constructed almost as a choral recitative and aria, the first section But He Was Pierced is unaccompanied. All We Like Sheep follows, with its jaunty changing meters and a keyboard accompaniment that could be done on piano or organ. These two short pieces were originally written to follow the composer's Surely He Has Borne Our Griefs (50-3105).
SKU: LO.99-4131L
UPC: 000308155730.
SKU: HL.50606725
UPC: 196288169758.
Composer's note: When it comes to titles, almost all the works I have composed have found their title before or at the same moment I started them. That is why it was also surprising - not to say transgressive - for me that my work for 9 instruments for Ensemble MidtVest was completely untitled until the last bar. Then it dawned on me that the titlelessness was a natural result of the music's volatility. It was - and is - as if the music was constantly escaping from itself. The beginning of the work is definitely an escape into a new chapter, and that feeling runs through the entire work. In a longer section, the music flies towards a Barcarole, where the piano has a soloist role, and this is probably a result of my recurring dream of Venice - the gondolas in the swaying rhythms of the canals. Hence the Italian title,“Fuggitivo†- fugitive. The work was composed for and commissioned by Ensemble MidtVest with support from the Danish Arts Foundation.