SKU: CA.3108109
ISBN 9790007045456. Key: E minor. Language: German/English.
Bach composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score and parts available separately - see item CA.3108100.
SKU: HL.50563699
Inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: GH.SK-532
ISBN 9790070016728. A4 inches.
SKU: CA.3118219
ISBN 9790007136949. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and parts available separately - see item CA.3118200.
SKU: CA.3911314
ISBN 9790007215521. Language: German.
A solo cantata for bass-baritone (B-f1), whose two recitatives and arias are framed with two chorale verses sung by the choir. Particularly beautiful is the first aria, accompanied by flute, oboe and basoon. The flute part can be also be performed by an alto recorder. Score and part available separately - see item CA.3911300.
SKU: CA.3912013
ISBN 9790007055653. Language: German/English.
This three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument (+ a continuo melody instrument ad lib.). If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work by adding a four-part chorus from the more fully scored original version, which Telemann did not publish. Score and part available separately - see item CA.3912000.
SKU: CA.3911309
ISBN 9790007215484. Language: German.
A solo cantata for bass-baritone (B-f1), whose two recitatives and arias are framed with two chorale verses sung by the choir. Particularly beautiful is the first aria, accompanied by flute, oboe and basoon. The flute part can be also be performed by an alto recorder. Score and parts available separately - see item CA.3911300.
SKU: CA.3912019
ISBN 9790007144296. Text language: German/English.
This three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument (+ a continuo melody instrument ad lib.). If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work by adding a four-part chorus from the more fully scored original version, which Telemann did not publish. Score and parts available separately - see item CA.3912000.
SKU: CA.3911303
ISBN 9790007095062. Language: German.
A solo cantata for bass-baritone (B-f1), whose two recitatives and arias are framed with two chorale verses sung by the choir. Particularly beautiful is the first aria, accompanied by flute, oboe and basoon. The flute part can be also be performed by an alto recorder. Score available separately - see item CA.3911300.
SKU: CA.3911300
ISBN 9790007094362. Language: German.
A solo cantata for bass-baritone (B-f1), whose two recitatives and arias are framed with two chorale verses sung by the choir. Particularly beautiful is the first aria, accompanied by flute, oboe and basoon. The flute part can be also be performed by an alto recorder.
SKU: CA.3911319
ISBN 9790007144319. Language: German.
SKU: CA.3118207
ISBN 9790007050276. Key: A major. Language: German/English. Text: Franck, Salomo.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.
SKU: GI.G-1774
C Instrument or Recorder. Percussion is for wood block or finger cymbals.
SKU: CA.3911313
ISBN 9790007215514. Language: German.
SKU: CA.3913909
ISBN 9790007216153. Text language: German.
With the final verse of the Book of Daniel from the Old Testament and a related cantata text, Telemann mourns the death of a prominent, but until now unknown dignitary in a cantata marked by great intimacy and with exquisite instrumentation. Jakob Ditmar, the Kantor of the Nikolaikirche in Berlin, to whom we owe the survival of this work, contributed two beautiful chorale settings for a performance in 1757. First critical edition of this cantata. Score and parts available separately - see item CA.3913900.
SKU: GH.SK-531
ISBN 9790070016711. A4 inches.
SKU: CA.3911312
ISBN 9790007215507. Language: German.
SKU: CA.3118213
ISBN 9790007050306. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200.
SKU: CA.3911311
ISBN 9790007215491. Language: German.
SKU: GI.WJMS1161
UPC: 785147000365. Latin. Text Source: Psalm 65.
A highly energetic and challenging work, Ivo Antognini's Jubilate Deo will be a nice rhythmic and uptempo addition to your program. Written for choir and SATB quartet or small ensemble, this interesting combination of forces makes for a great opportunity to feature some of your singers. Jo-Michael Scheibe Choral Series. Recording Choir: Slovenian Philharmonic Choir, Matjaz Scek, conductor.
SKU: HL.256039
ISBN 9788759838112. Danish.
Nordisk Suite (Nordic Suite) - 6 Nordic Folksongs arranged for Mixed Choir SATB, Recorder and String Quartet by Soren Birch. Content: 1. Den kedsom vinter gik sin gang 2. Fjarran han drojer 3. Per Spelmann 4. Jeg gik mig ud en sommerdag at hore 5. Kristallen den fina 6. Ramund.
SKU: HL.48022630
This is originally from A Celebration of Christmas, a set of six carols for upper (SSA) or mixed (SATB) voices.
SKU: GI.G-012713
UPC: 641151127132.
We offer this intriguing Christmas piece from the Renaissance period, arranged and edited by Christopher Moroney. This setting attempts to simulate how a musical performance may have sounded during the colonial epoch in Mesoamerica during the fifteenth and sixteenth centuries. Extensive historical notes are found in the octavo regarding text, composer, transcription, and instrumentation. The choral parts are not difficult and a phonetic rendering makes the pronunciation quite easy to learn. Instrumental parts are provided for recorders, flutes, and sundry percussion instruments. Listen to this unique track and consider adding a new sound to your Christmas celebrations!
SKU: CA.3913405
ISBN 9790007103675. Language: German/English.
The Trauer-Actus is probably the earliest work in the Grimma collection of Telemann cantatas. Its textual and musical structur indicates that this work dates from Telemann's apprentice years at Hildesheim, between about 1696/97 and 1701. It belongs to a category of cantatas in which biblical quotations are brought together to etablish a particular theme, which can be supportet by existing hymns (se also Bach's Actus tragicus). Score available separately - see item CA.3913400.
SKU: HL.115255
UPC: 884088879013. 6.75x10.5 inches.
From Judith Clurman's Essential Voices USA recording Celebrating the American Spirit, this brilliant setting of the Pledge of Allegiance will bring pageantry and artistry and a spirit of celebration to concerts and patriotic events alike. Inspirational! Instrumental accompaniment score and parts available as a digital download (tpt, hn, vn, va, vc). Duration: ca. 2:00.
