SKU: HP.9142
UPC: 763628191429.
Worship song by Michael W. Smith This Michael W. Smith classic is ideal for any worship occasion and especially communion services reflecting on Jesus, the Lamb of God. The inclusion of a portion of How Great Thou Art expands and reinforces this anthem of praise to the Lord God Almighty.
SKU: HP.8964
UPC: 763628189648.
SKU: HP.9111
UPC: 763628191115.
SKU: HL.48023768
UPC: 840126911367. 7.5x10.25x0.057 inches.
MacMillan's popular congregational mass setting updated with the text of the new English translation released in 2010. A major addition is the inclusion of a newly composed setting of the Gloria. Suitable for congregational use, with or without choir. All ability levels.
SKU: HL.14018437
The Requiem Mass in C Minor, Cherubini's first, was commissioned for the anniversary of the execution of Louis XVI by the restored French monarchy. The Requiem was highly admired by the public and critics as well as by Mendelssohn, Berlioz and Beethoven. Cherubini sets a solemn tone right from the beginning by using the lower Strings and winds only to accompany the Voices and continues to display his inventiveness with great effectiveness throughout the work. The thunder and lightning of the Dies Irae, the prayerful pianissimo sections of the Agnus Dei accompanied by ostinato, the complete lack of soloists are all remarkable elements of this historically importantwork.Luigi Cherubini was a composer, conductor, teacher, administrator and music publisher who, though born in Italy, dominated the musical world of Paris for nearly five decades. His composing life can be divided very roughly into to phases: the operatic phase during the French Revolutionary period and the equally successful religious music phase at the beginning of the Restoration afterwards. His directorship of the Paris Conservatoire strengthened its position at the peak of musical education on the Continent.
SKU: BR.OB-5329-11
ISBN 9790004333525. 10 x 12.5 inches.
According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.
SKU: BR.OB-5329-16
ISBN 9790004333549. 10 x 12.5 inches.
SKU: BR.OB-5329-26
ISBN 9790004333556. 10 x 12.5 inches.
SKU: BR.OB-5329-30
ISBN 9790004333563. 10 x 12.5 inches.
SKU: BR.CHB-5289-02
ISBN 9790004412046. 7.5 x 10.5 inches.
SKU: BR.PB-5329
ISBN 9790004210420. 10 x 12.5 inches.
SKU: BR.OB-5329-15
ISBN 9790004333532. 10 x 12.5 inches.
SKU: HL.48025427
ISBN 9781784546175. UPC: 196288207788.
Composed in 2008-09, GRAFFITI is Lindberg's first work for chorus and orchestra, and it earned him the 2009 Finnish Composer Society's Award. The libretto for the half-hour work is compiled from ancient Latin graffiti discovered during excavations of Pompeii, the city destroyed by volcanic eruption in 79 CE. Some of the writings are specific to the time and place, such as publicity for gladiatorial combats, but many of the political denunciations, silly aphorisms, and sexual encounters either documented or solicited could, with the Roman names changed, be found in present-day settings. Lindberg assembled the brief texts without aiming to create a narrative or thematic scheme, his intention being to evoke 'a grand choral and orchestral fresco of the life of the town'. A work of great energy and originality, and a significant addition to the repertoire of large-scale choral writing.
SKU: HL.14019145
ISBN 9788759860625. 12.0x16.5x0.436 inches. English.
This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.