for String Quartet. Par BAKER CLAUDE. A VOICE PASSES provides musical commentary on three haiku by the 19th-century poet Masaoka Shiki and one by the legendary master he most admired, Yosa Buson. Stricken with tuberculosis and addicted to morphine in the later years of his short life, Shiki wrote a large number of haiku that dealt with the pain and suffering caused by his illness. Of these, many w…

Holiday Songs from Around the World. Par . This collection of 26 holiday songs and carols can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings, and mallet percussion can have fun playing in like instrument ensembles and get creative with any mixed ensemble. They are also outstanding tools for auditions, sight reading, and learning the art of ense…

Lullay, my liking is scored for accompanied two-part choir, allowing for various upper-/lower-voice combinations: two-part trebles or sopranos, upper voices only (S/A), or men only (T/B). If performed by a four-part choir, sopranos and tenors should read the upper line, and altos and basses read the lower. The keyboard part can be played on piano or organ, or harp. An inspiring selection of new wo…

Weihnachtskantate. Par SCHMELZER JOHANN HEINRICH. With this pastoral Christmas cantata by the long-serving Royal Hofkapellmeister of Vienna, Johann Heinrich Schmelzer, we wish to draw attention to a prominent baroque composer whose vocal and instrumental works have yet to achieve their historical place in the “early music scene“ which they richly deserve. Schmelzer’s easily performable pastoral mu…

Par KING ROBERT. Oxford Choral Classics: Musique Eglise d'Angleterre se réunit en deux volumes d'environ 100 des plus beaux exemples de l'anglais musique chorale sacrée. Le second volume présente une richesse de matériel de service adapté à une utilisation tout au long de l'année. Les cantiques du soir sont donnés l'espace en raison, avec dix-sept paramètres, y compris ceux de Byrd, Gibbons, Purce…

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Aus: Matthäuspassion 'Laßt Uns Mit Ernst Betrachten'. Par TELEMANN GEORG PHILIPP. This aria is equally suitable for use in a service or as Passion music. The voice and recorder alternate with the tutti strings. The voice part has the unusually limited range e1–e2, but it demands some vocal agility. / Date parution : 1980-12-01/ Répertoire / Solo Ms, Flûte à Bec F1, 2 Violons, Alto et Basse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV …

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV …

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV …

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV …

lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, ju…

Kantate Zum Fest Mariae Reinigung. Par BACH JOHANN SEBASTIAN. Setting in E minor. A new edition of the version for solo soprano by Bach, which can hold a place alongside the version for bass solo. Bach originally composed the cantata for the Feast of Purification for a solo bass in the key of C minor [CV 31. 082/00]. Since its scoring for only one solo voice made it easily adaptable for performanc…

Kantate Zum Fest Mariae Reinigung. Par BACH JOHANN SEBASTIAN. Setting in E minor. A new edition of the version for solo soprano by Bach, which can hold a place alongside the version for bass solo. Bach originally composed the cantata for the Feast of Purification for a solo bass in the key of C minor [CV 31. 082/00]. Since its scoring for only one solo voice made it easily adaptable for performanc…