Format : Vocal Score
SKU: GI.G-003359
A versatile, all-inclusive prayer service booklet containing the leader's guide and the people's parts, readings, and assembly music for a complete Stations of the Cross. Each of the fourteen Stations also include a hymn verse with music notation written by Alan J. Hommerding and scripture references to the reading. .
SKU: CF.MXE219
ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020.
SKU: GI.G-3743
Text by Graziano Marcheschi.
In these two versions of the Stations of the Cross you will find contemporary prayers and texts, elegant full-color art work and striking music that speaks well to today’s world. Version I is a shorter text requiring one book for the leader and each participant. Musical accompaniments for Version I are found in edition G-3743FS. Version II contains a marvelous dramatic text allowing for a more involved prayer experience and includes roles for the leader, people, and four spoken “voice†parts. When performing Version II, people use edition G-3743 while the leader, organist, and “voices†use the full score edition (G-3743FS). Version II is ideal for Good Friday. .
SKU: GI.G-005888
Text by Amy Kiley.
SKU: CA.2047815
ISBN 9790007196929. Key: E phrygian. Language: German/English.
Score available separately - see item CA.2047800.
SKU: CA.2047816
ISBN 9790007196936. Key: E phrygian. Language: German/English.
SKU: CA.1460300
ISBN 9790007031305. Language: German.
SKU: CA.2047812
ISBN 9790007196899. Key: E phrygian. Language: German/English.
SKU: CA.2047811
ISBN 9790007196882. Key: E phrygian. Language: German/English.
SKU: CA.2047814
ISBN 9790007196912. Key: E phrygian. Language: German/English.
SKU: CA.2047813
ISBN 9790007196905. Key: E phrygian. Language: German/English.
SKU: CA.1905400
ISBN 9790007140120. Language: German.
The Stations of the Cross are a centuries-old element in worship services which are firmly anchored in the visual arts. There is hardly a Catholic church which does not include a representation of the via dolorosa in its interior design. Thus it is all the more astonishing that this subject is not nearly so widely portrayed in music. Franz Liszt (Via crucis) and Marcel Dupre, with his ingenious improvisation which later became a composition, are practically the only representatives of this genre of composition in music history. The present work for a cappella choir, three dancers, timpani, baritone and soprano soloists, oboe and organ offers a new approach to the literary model of the Stations of the Cross. The emphasis rests with the choir, which is responsible for six Stations of the Cross. Here, in part, the stations are assigned associative text from poetry (e.g., Christian Morgenstern and Michelangelo). Three dancers dance the three Stations of falling in a setting filled with black light, accompanied by a speech motet provided on CD. The organ appears in a solo capacity and as an accompaniment to the solo singers. The timpani announce the horror of death by crucifixion. Together this collage-like work forms a magnificent whole. The duration is 60 minutes.
SKU: CA.1905404
ISBN 9790007192624. Language: German.
The Stations of the Cross are a centuries-old element in worship services which are firmly anchored in the visual arts. There is hardly a Catholic church which does not include a representation of the via dolorosa in its interior design. Thus it is all the more astonishing that this subject is not nearly so widely portrayed in music. Franz Liszt (Via crucis) and Marcel Dupre, with his ingenious improvisation which later became a composition, are practically the only representatives of this genre of composition in music history. The present work for a cappella choir, three dancers, timpani, baritone and soprano soloists, oboe and organ offers a new approach to the literary model of the Stations of the Cross. The emphasis rests with the choir, which is responsible for six Stations of the Cross. Here, in part, the stations are assigned associative text from poetry (e.g., Christian Morgenstern and Michelangelo). Three dancers dance the three Stations of falling in a setting filled with black light, accompanied by a speech motet provided on CD. The organ appears in a solo capacity and as an accompaniment to the solo singers. The timpani announce the horror of death by crucifixion. Together this collage-like work forms a magnificent whole. The duration is 60 minutes. Score and part available separately - see item CA.1905400.
SKU: CA.1905405
ISBN 9790007161293. Language: German.
The Stations of the Cross are a centuries-old element in worship services which are firmly anchored in the visual arts. There is hardly a Catholic church which does not include a representation of the via dolorosa in its interior design. Thus it is all the more astonishing that this subject is not nearly so widely portrayed in music. Franz Liszt (Via crucis) and Marcel Dupre, with his ingenious improvisation which later became a composition, are practically the only representatives of this genre of composition in music history. The present work for a cappella choir, three dancers, timpani, baritone and soprano soloists, oboe and organ offers a new approach to the literary model of the Stations of the Cross. The emphasis rests with the choir, which is responsible for six Stations of the Cross. Here, in part, the stations are assigned associative text from poetry (e.g., Christian Morgenstern and Michelangelo). Three dancers dance the three Stations of falling in a setting filled with black light, accompanied by a speech motet provided on CD. The organ appears in a solo capacity and as an accompaniment to the solo singers. The timpani announce the horror of death by crucifixion. Together this collage-like work forms a magnificent whole. The duration is 60 minutes. Score available separately - see item CA.1905400.
SKU: CA.1905419
ISBN 9790007141110. Language: German.
The Stations of the Cross are a centuries-old element in worship services which are firmly anchored in the visual arts. There is hardly a Catholic church which does not include a representation of the via dolorosa in its interior design. Thus it is all the more astonishing that this subject is not nearly so widely portrayed in music. Franz Liszt (Via crucis) and Marcel Dupre, with his ingenious improvisation which later became a composition, are practically the only representatives of this genre of composition in music history. The present work for a cappella choir, three dancers, timpani, baritone and soprano soloists, oboe and organ offers a new approach to the literary model of the Stations of the Cross. The emphasis rests with the choir, which is responsible for six Stations of the Cross. Here, in part, the stations are assigned associative text from poetry (e.g., Christian Morgenstern and Michelangelo). Three dancers dance the three Stations of falling in a setting filled with black light, accompanied by a speech motet provided on CD. The organ appears in a solo capacity and as an accompaniment to the solo singers. The timpani announce the horror of death by crucifixion. Together this collage-like work forms a magnificent whole. The duration is 60 minutes. Score and parts available separately - see item CA.1905400.
SKU: GI.G-006139
English.
During Lent, the Stations of the Cross (or Way of the Cross) are prayed with great frequency, including by children in religious education programs or parish schools. Author Christine Ondrla, drawing on her own extensive experience as a parish catechist, has written this guide for catechists and teachers to help them prepare their students for preparing a Stations of the Cross service. This helpful manual will be invaluable for anyone involved in the outgoing spiritual formation of the next generation of Christians.
SKU: GI.G-008241
This contemporary Stations of the Cross, written by theologian and storyteller John Shea, is designed for a leader and congregation. While in keeping with the traditional devotion, it also contains aspects of liturgical drama. At each station a character presents a monologue that connects the passion of Christ with contemporary forms of suffering, followed by a brief reflection by the leader, a period of silence, and a short sung response‚Äîa total time of forty-five to fifty-five minutes for the whole service. Through their participation in the fourteen stations, the leader, speakers, and assembly enter more deeply into the passion of Christ and into the mystery of their own suffering. The 8.5 x 11 leader/accompaniment edition is three-hole punched to fit in a ceremonial binder, and contains the complete text of the service as well as accompaniment versions of Steve Warner‚ ‚Crux Fidelis‚ and Kevin Keil and Alan Hommerding‚ ‚Stations of the Cross.‚ The coordinating people's edition (WLP# 008240) contains the reflection responses and assembly versions of these same pieces.
SKU: GI.G-002690
UPC: 641151026909. English. Text by Christine Ondrla.
Every one of us has, at some time in our lives, walked a lonely trail of pain and isolation. Christine Ondrla guides us along The Way of the Cross with personal reflections that show us we are never alone. This book can be used for individual prayer or in a communal setting. Pen and ink drawings by Charlotte Lichtblau accompany each station. Unique to WLP‚ Way of the Cross is a separate recording of powerful music reflections for each station, created by Denise Morency Gannon (002691). The Way of the Cross is a wonderful centering tool, not only during the Lenten season but whenever we need the reassuring presence of God.
SKU: LO.10-1415L
UPC: 000308031232.
SKU: GI.G-002691
UPC: 641151026916. English.
Every one of us has, at some time in our lives, walked a lonely trail of pain and isolation. With her The Way of the Cross prayer resource (People's Book - 002690) Christine Ondrla guides us on the path with personal reflections that show us we are never alone. Unique to the WLP edition of The Way of the Cross is this separate recording of powerful music reflections for each station created by Denise Morency Gannon. A wonderful centering tool, not only during the Lenten season, but whenever we need the reassuring presence of God.
SKU: HL.50511310
ISBN 9790080129425. UPC: 073999169195. 9.0x12.0x0.284 inches. Hungarian, English, German, French. Ferenc Liszt; Imre Mezo.
Via Crucis is one of the most outstanding religious masterpieces from Liszt-s late creative period, and it depicts the story of the fourteen stations of Jesus' suffering. The work was not released during the composer-s lifetime due to its unusual and daring new sonorities. Based on his own dating, Liszt completed the composing process on February 26, 1879 in Budapest. The piece was originally written as fifteen short movements for solo vocalists, choir, and organ or harmonium, and its text was compiled by Liszt's partner, Carolyne von Sayn-Wittgenstein, using biblical excerpts, two medieval Latin hymns and two German Lutheran chorales.This volume, edited by Imre Mezo, contains German, English and Hungarian prefaces, as well as critical notes in English, which reveal valuable details about the history of the work.
SKU: VD.ED17644
9 x 12 inches.