Par STAINER. A classic text on Organ technique. Sir John's book, first published in 1877, quickly became the classic for beginners- so popular that publishers Schirmer, Ditson, and Presser each issued its own 'Americanized' edition in the early twentieth century. In addition to the seven Organ pieces of the original edition, including five of Stainer's own works and two pieces by Guilmant, three additional works round of this Dover edition. This edition is a slightly expanded republication of the edition first published by G. Schirmer, New York in 1909, edited by F. Flaxington Harker. Introduction to this Dover edition by Rollin Smith. / Pédagogie / Méthode / Orgue

Par STAINER JOHN. John Stainer [1840–1901] is known primarily as a pioneer of English musicology. As a composer he dedicated himself primarily to “Cathedral music. ” His Services and Anthems from this body of music were written largely for St. Paul’s Cathedral, where he worked temporarily as an organist./ Répertoire / Choeur SATB/SATB et Orgue

Par BLOW JOHN. Selected from Musica Britannica Volume 73. Edited by Robert Klakowich. Amateur and professional players with an interest in Baroque repertoire will welcome this generous selection of 25 harpsichord pieces by John Blow (1649-1708). Blow stands as the dominant figure of English harpsichord composition in the late seventeenth century, the master of an individual school that merged continental influences into a vigorous native tradition of keyboard writing. There are preludes, dances and grounds in this anthology, which is selected from Volume 73 of Musica Britannica, and also includes advice on ornamentation and a comprehensive editorial note. Along with its companionvolume of 16 organ pieces, K43, this collection is an important addition to Stainer & Bell's landmark Early English Keyboard series./ Répertoire / Clavecin

Par KING ROBERT / RUTTER JOHN. Oxford Choral Classics: anglais Church Music rassemble en deux volumes d'environ 100 des plus beaux exemples de l'anglais la musique chorale sacrée des cinq derniers siècles. Le premier volume, consacré aux hymnes et motets, présente à la fois favoris et des Oeuvres moins connues, de la polyphonie de la Renaissance exceptionnelle Taverner, Tallis, Byrd et, à travers la restauration dirigée par Purcell, les Oeuvres glorieuses de la grande XIXe et XXe siècles compositeurs-siècle, y compris Wesley, Elgar, Stanford, Vaughan Williams, et Howells. Le volume contient un certain nombre d'Oeuvres plus importantes, y compris de Mendelssohn Ecoute ma prière, Stainer, je vis le Seigneur, et dicentis Naylor Vox: Clama, ainsi qu'une belle sélection de pièces plus courtes, de Gibbons O Seigneur, dans ta colère pour définir Walton moi comme un sceau sur ton cOeur. Avec le volume second compagnon de cantiques et de réponses, cette collection présente bipartite une enquête approfondie de la musique sacrée anglaise à son meilleur. / Recueil / Chant

John Stainer's I Saw The Lord is a beautiful Anthem for Double SATB Choir and organ.This edition features fresh engravings with the Organ part printed on three staves. It also includes a paragraph explaining the historical background and context of the work.

From John Stainer's most notable work the sacred meditation The Crucifixion. Version for SAB Choir (and Organ ad lib.) by Carl Deis.

The Gloria in Excelsis was written by Sir Charles Villiers Stanford for the coronation of HM King George V on 22 June 1911. It was an occasion of some note in the annals of British music, for Elgar's Coronation March and Parry's grand festival Te Deum were also heard for the first time that day. In addition, there was music by Thomas Tallis, Orlando Gibbons and Sir John Stainer, as well as by the Master of the King's Music and organist of St George's Chapel, Windsor, Sir Walter Parratt. It was published the following year as part of Stanford's Opus 128, the Festal Communion Service for voices and orchestra, which was also made available withthe accompaniment arranged by the composer for organ. However, such was the popularity of the Gloria, a magnificent and wholly representative example of Stanford's genius for church music, that it soon became popular as a separate piece, either with organ or orchestral accompaniment, and it was included in the orders of service for the coronations of HM King George VI on 12 May 1937 and HM Queen Elizabeth II on 2 June 1953./ Recueil / Choeur Mixte (SATB) et Orgue

Six pieces from Musica Britannica Vol. 96. Complementary to K49, this collection is a unique offering of music by John Amner, Nicholas Carleton and John Tomkins that is the only surviving Keyboard music by the respective composers. In addition to a pair of duets, in themselves an unusual feature from the period, there are two lengthy sets of variations, Amner 's being a rare example of those on a metrical psalm or hymn-tune (possibly by Tallis in this case), John Tomkins ' being more conventionally modelled on the variation sets of William Byrd. Nicholas Carleton 's 'A verse of 4 parts' and 'Upon the sharp' include several examples of unusual chromatic notation and wide-rangingtonal schemes. / Date parution : 1905-07-07/ Recueil / Clavier

Arrangeur: John Williams. Par WILLIAMS JOHN. Arranged for Medium Voice by John Williams. Voice and Guitar. CONTENTS/ Recueil / Chant et Guitare

The John Wilbraham Method. Par BOOTH MATTHEW. ISBN 0 85249 860 8 Probably the most important book on the subject to have appeared in recent years, Sound the Trumpet encapsulates the musical philosophy of John Wilbraham, one of the 20th-century’s most eminent and colourful trumpet players and teachers. Matthew Booth, himself a former student, explains how knowledge of Wilbraham’s unique insights into the art and craft of playing the instrument can benefit all performers, whether beginners or professionals. Drawing his teacher’s witty sayings and pithy technical analyses into a comprehensive system, he has produced a complete and indispensable guide to mastery of the trumpet, amounting to nothing less thanthe 'Wilbraham Method’. ISBN 0 85249 860 8 Probably the most important book on the subject to have appeared in recent years, Sound the Trumpet encapsulates the musical philosophy of John Wilbraham, one of the 20th-century’s most eminent and colourful trumpet players and teachers. Matthew Booth, himself a former student, explains how knowledge of Wilbraham’s unique insights into the art and craft of playing the instrument can benefit all performers, whether beginners or professionals. Drawing his teacher’s witty sayings and pithy technical analyses into a comprehensive system, he has produced a complete and indispensable guide to mastery of the trumpet, amounting to nothing less thanthe 'Wilbraham Method’./ Livre / Livre

Par IRELAND JOHN. John Ireland's Cavatina was originally written for Violin and Piano, however was later transcribed, by the composer, for his favourite instrument - the Organ. John Ireland's Cavatina was originally written for Violin and Piano, however was later transcribed, by the composer, for his favourite instrument - the Organ./ Répertoire / Orgue

Stainer's classic anthem has been given special treatment in this masterful setting by Benjamin Harlan. This anthem should be in every choral library. Available separately: SATB SAB/2-Part ChoirTrax CD. Score and parts (fl ob hn vn 1-2 va vc db) available as a Printed Edition and as a digital download. Duration: ca. 3:50.

Even for Ralph Vaughan Williams the prospect of two world premieres within 24 hours must have been something of a rarity. Such was the case however on the first two days of June 1953, when his now classic arrangement of The Old Hundredth Psalm was sung at the Coronation of Elizabeth II in Westminster Abbey, being preceded the evening before by the premiere of 'Silence and Music', fourth of ten partsongs of A Garland for the Queen, commissioned from leading British composers by the Arts Council of Great Britain to honour the new monarch. Long unavailable except as separate items from individual publishers, this historic collectionis now reissued complete by Stainer & Bell in its original single-volume format, allowing conductors and singers to choose from a rich collection of choral music with which to mark the Queen's Diamond Jubilee and, in 2013, the 60th anniversary of the Coronation itself. In addition to VW's contribution, A Garland for the Queen includes important settings by Bax, Berkeley, Bliss, Finzi, Howells, Ireland, Rawsthorne, Rubbra and Tippett. The collection moreover draws on the work of poets whose names likewise feature prominently in the annals of mid-century British literary talent: Clifford Bax, Edmund Blunden, Paul Dehn, Christopher Fry, Christopher Hassall, James Kirkup, Louis MacNeice, Walter de la Mare, Henry Reed and Ursula Wood. Intended as a counterpart to The Triumphs of Oriana of 1601, the celebrated madrigal volume published in praise of Elizabeth I by Thomas Morley, A Garland for the Queen emulates its distinguished predecessor in its variety of moods and vocal combinations. There is material here to fit every aspect of celebration, from the airy five-part ensemble of Bax's 'What is it like to be young and fair?', and the soprano solo with SATB of Rawsthorne's Canzonet, to the lustrous contrasting of male and female timbres in Bliss's Aubade, and the rapturous eight-part setting of/ Recueil / Voix Mixtes