Vienna version 1781. Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigenie auf Tauris (Vienna version 1781) (Vocal Score) Music drama in four acts Following upon the great success of “Iphigénie en Tauride”, Gluck arranged the popular drama of human passions, guilt and unconditional friendship once again for Vienna’s Burgtheater, where it was premièred in 1781. Especially remarkable is the masterly orche…

Par MARSH LIN. Songscape contains twenty-four songs which cover an exciting range of musical styles - from ethnic music, theatre, pop classics and rounds, to Lin Marsh's own wonderful original pieces. All songs are presented for Piano, Voice and Guitar, but there are also opportunities to incorporate other school instruments such as Flute, Violin and Recorder in the performance. All songs have bee…

Par GOODALL HOWARD. If ordering more than 10 copies, please call us on +44 (0)1284 725725 to check availability. Howard Goodall 's Eternal Light: A Requiem for Soprano, Tenor and/or Baritone soloists, SATB chorus, two Keyboards, Harp (optional) and Strings. Vocal score. This piece of sheet music was commissioned by London Musici (Artistic Director: Mark Stephenson) to celebrate its 20th anniversar…

The Mamas and The Papas' hymn to the West Coast state California Dreamin ' was actually written in chilly New York City by John and Michelle Phillips before they even formed the band that made them famous. Simon and Garfunkel were New York through and through and Simon's jaunty song about the Queensboro Bridge - aka Feelin' Groovy - uses its local colloquial name. Skeeter Davis, born Mary Frances …

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s life…