Format : Octavo
SKU: HL.14029953
8.25x11.75x0.37 inches.
This cantata for soprano and baritone soli, chorus and organ was commissioned by the Dean and Canons as part of the musical celebrations in honour of the Quincentenary of St George's Chapel, Windsor. Five poems, selected for the composer by Canon Stephen Verney, explore the different, and often opposing facets of Faith and it's demands upon the individual, culminating in an optimistic vision of the union of divine and human love. The cantata is dedicated by Gracious Permission to Her Majesty the Queen.
SKU: HL.1190001
UPC: 196288131687. 6.75x10.5x0.029 inches. Ephesians 6:10-20, Psalm 3:3, Psalm 84:11.
Pristine in its clarity, this song of devotion shares the faithfulness of God's protection in lovely melody and pure harmonies. A quick learn anthem, it has an impressive impact when sung with sincere expression.
SKU: CL.012-3681-01
This brilliant and challenging march is the perfect choice for your next performance. Features trombones in the opening two strains, a delightful woodwind variation in the trio, and a robust and powerful final chorus which will have toes tapping all throughout the audience. Lots of excitement from start to finish. Truly exceptional!
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CF.CM9717
ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.
The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.†It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.†On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.
SKU: MN.50-8410
UPC: 688670584107. Scripture: Matthew 5.
Matthew 5:16. Sprightly two-voice canon. Multiple uses: Baptism, Confirmation, Easter Vigil. Written for Two-Part Equal Voices or Two-Part Mixed Voices Handbells: (3 oct.-10 bells).
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
