By T. Rex and The Power Station. This edition: Interactive Download. Metal, Pop, Rock. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.36983). - Piano/Vocal/Guitar - Metal,Pop,Rock - Hal Leonard - Digital Sheet Music

Soprano, violin, cello and piano - difficult - Digital Download SKU: S9.Q45642 For soprano and piano trio. Composed by Thomas Larcher. This edition: score and parts. Downloadable, Score and parts. Duration 15 minutes. Schott Music - Digital #Q45642. Published by Schott Music - Digital (S9.Q45642). English.In a magazine with reports on mental institutions, Thomas Larcher came across interviews with patients: 'These sentences are of a strong inner power, yet do not claim to convey an overall picture of these people. There rather appear snatches from their world like a stroboscope.' The soprano part in Larcher's composition attends to these texts in a very restraint, often introverted manner, but they continue to have an effect in the instrumental parts, like catalysts of seemingly disturbing processes. The world premiere with Juliane Banse, Christian Tetzlaff, Nikolaj Schneider and the composer on the piano took place at the renowned festival 'Spannungen' in the power station of Heimbach in 2002. Recently, a recording has been released by ECM New Series.Dans un reportage sur les établissements psychiatriques, Thomas Larcher a trouvé des interviews de patients : “Ces phrases sont d’une grande force en soi mais elles ne prétendent pas donner une image globale de ces personnes. Comme avec un stroboscope apparaissent plutôt des lambeaux de leur monde.�.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque� (which would still fit the rhythm of the repeated „qui ex Patre�, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations�, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis� and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis� gesture at „Gloria in excelsis Deo�, „et ascendit in caelis�, „in remissionem peccatorum� and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est�, a cross-shaped texture at „crucifixus�, and some word-painting (hushed sonorities at „et invisibilium�, anticipations between orchestra and chorus at „et exspecto� etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie� is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria� begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo� has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange lingua�, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria� and „Credo� end with extended, powerful and elaborate fugues („in gloria Dei Patris� and „et vitam venturi saeculi�, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei� end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctus�). „Judicare� quotes the beginning of the well-known „Dies irae� plainchant tune, and the Consecration between the „Sanctus� and „Benedictus� sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Dei�, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi� and „dona nobis pacem�). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison� theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque� (which would still fit the rhythm of the repeated „qui ex Patre�, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations�, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis� and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis� gesture at „Gloria in excelsis Deo�, „et ascendit in caelis�, „in remissionem peccatorum� and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est�, a cross-shaped texture at „crucifixus�, and some word-painting (hushed sonorities at „et invisibilium�, anticipations between orchestra and chorus at „et exspecto� etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie� is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria� begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo� has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange lingua�, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria� and „Credo� end with extended, powerful and elaborate fugues („in gloria Dei Patris� and „et vitam venturi saeculi�, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei� end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctus�). „Judicare� quotes the beginning of the well-known „Dies irae� plainchant tune, and the Consecration between the „Sanctus� and „Benedictus� sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Dei�, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi� and „dona nobis pacem�). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison� theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

Piano,Vocal,Voice - Digital Download SKU: A0.507525 By The Power Station. By Andrew Taylor, Anthony Thompson, John Taylor, and Robert Palmer. Arranged by Biegler. Contemporary. Score. 3 pages. Biegler #4414973. Published by Biegler (A0.507525). Scored for piano with the vocal line played in the right hand/treble clef.The guitar solo is not notated.

SATB choir, piano, cello - Medium - Digital Download SKU: MQ.70-300-E Composed by Taylor Scott Davis. Lent, Triduum/Three Days. 72 pages. MorningStar Music Publishers - Digital Sheet Music #70-300-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.70-300-E). English. Luke 23:32-38; John 19:1-3; John 19:15-17; Luke 23:26; Matthew 11:28-30; Luke 23:27-28; Isaiah 53:10-12; Luke 23:44-46; Luke 23:50-56.A major choral work with original texts by Terry York and original music by Taylor Davis, Return to Me, takes us on a journey through the traditional Stations of the Cross. The combination of familiar scripture texts set with powerful new images creates a deeply spiritual experience for Holy Week. Duration: Approximately 40 minutesAs a companion to this work, an optional daily devotion guide for the season of Lent will enhance the congregational experience by coordinating with the texts sung by the choir in the Holy Week worship service. Preview Pak includes a choral score and CD recording.The Choral score (70-300) does not include the Lenten Devotional Guide. The Lenten Devotional Guide must be purchased separately and is available in a hardcopy booklet (70-300B) or as a digital download/PDF file for your e-reader (file_70-300B-E). If the Lenten Devotional Guide is to be used as pew booklets, you only need to purchase the number of Lenten Devotional Guides you wish to have available to your congregation.If your church intends to reproduce the Lenten Devotional Guide in your church bulletin, church websites, social media (e.g., Facebook), or email, you may report usage as follows:• If your church is a member of CCLI or OneLicense.net, you can report there.• If you church is not a member of CCLI or OneLicense.net, you may purchase one of our Congregation Edition Digital Reproduction Licenses, which cover emailing and printing the edition. A PDF of the Congregation Edition is included with the license. The fee for organizations with 0-200 average church attendance is $50.00 and for more than 200 average attendance the fee is $75.00.

String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1150596 Composed by Ben Clapton. 20th Century,Chamber,Christian,Classical,Easter. 208 pages. Ben Clapton #750774. Published by Ben Clapton (A0.1150596). Introducing Stations of the Cross, a powerful and moving composition for string quartet and narration. This piece explores the biblical text of the 14 stations of the cross through four movements, creating a unique and meaningful musical experience. Perfect for Lenten and Holy Week services, this composition combines the emotional depth and expressiveness of a string quartet with the added dimension of narration. The result is a deeply moving and reflective work that will leave a lasting impact on your listeners. Don't miss out on the opportunity to bring the powerful story of the Stations of the Cross to life through music. Purchase Stations of the Cross (String Quartet and Narration) today!

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1210354 Composed by Thomas Newman. Arranged by Robert Luke Thompson. Classical,Contemporary,Film/TV. Brass Band. 33 pages. Monkspath Music #808128. Published by Monkspath Music (A0.1210354). The Night Window is a hauntingly beautiful instrumental piece that features in Sam Mendes’ World War I film, 1917. Composed by Thomas Newman, the score is a masterpiece of orchestration that captures the emotional intensity of war.This arrangment for Brass Band will work perfectly in any film music concert, or even a Remembrance related event. The Night Window is featured in a pivotal scene where the film's protagonist, Lance Corporal Schofield, takes refuge in an abandoned house during a tense night-time sequence. As Schofield takes a moment to rest and recover from his harrowing journey, he notices a window covered in beautiful stained glass that casts an ethereal glow over the room. The haunting melody of The Night Window begins to play as Schofield reflects on his experiences and contemplates the task ahead of him – saving the lives of sixteen-hundred men. As the title suggests, the music conveys the image of a night scene. The piece begins softly, with a gentle motif that evokes the stillness of the night. As the piece progresses, the music gradually builds in intensity and texture, whilst the camera slowly zooms in on the window, highlighting its beauty and fragility. The piece reaches its climax as Schofield gazes out of the window, and the camera pulls back to reveal the ruins of a once-beautiful town, now ravaged by war. The Night Window perfectly captures the sense of loss and devastation that war brings, while also conveying a glimmer of hope and beauty amid the darkness. A powerful piece of music that perfectly captures the emotions and themes of 1917. Its haunting beauty and evocative melodies make it a standout track in the film's score, and a piece that will linger in the listener's mind long after the credits have rolled.For further pieces, view the Monkspath Music catalogue and click here!

Choral Choir,Choral,SATB Chorus divisi - Level 3 - Digital Download SKU: A0.1510472 By Christopher Alexander. By Christopher Alexander and Safirah Ladore. A Cappella,Contest,Festival,Multicultural,World. 24 pages. Christopher Alexander #1085666. Published by Christopher Alexander (A0.1510472). This is the first movement from the extended choral work Rising from the Ashes: Stories of Lahaina.Depicting the devastation and horror incurred in the Maui wildfires of August 2023, the choir and drums establish a powerful and unrelenting rhythmic drive without slowing down.  The text of the melody gets further illustrated with texture painting (wind blowing) and chord clusters (sirens), culminating in the cacophony of all these sounds along with a small ensemble from the choir making shouts and shrieks. As the music fades away, so does the hope of the Lahaina residents as their homeland is burned away forever.Full score and other movements (Forever Anew, Finding Strength in Shadows, Kama'aina) also available for purchase.

Small Ensemble Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755024 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 66 pages. Sy Brandon #3244207. Published by Sy Brandon (A0.755024). Lest We Forget, written for the Zodiac Trio, was inspired by the approach of Memorial Day 2006 but has evolved into a composition with a more encompassing vision. The work was originally conceived to depict the horrors of war and to pay tribute to those who served and gave their lives so that freedom can endure. The conception expanded to include the horrors of natural disasters, the destruction of lives and property, and ability of humans to endure and rebound from the depths of despair. In essence, the piece is about the fragility of human life and the triumph of the spirit. The composition is in three movements. I. Fury - Strong rhythmic and contrapuntal lines depict outbursts of anger or the power of nature. The quieter sections represented a seething that builds to the violent outbursts. II. Devastation - This movement is filled with musical representations of screams, anger, laments, and hopelessness as one faces the aftermath of destruction. Long melodic lines in minor are interspersed with short motifs throughout the movement. III. Triumph of the Spirit - The movement begins quietly and slowly as if wandering among the desolation. Two thematic ideas appear during the slow section, one a prayer-like melody in the violin and the other an imitative development of the prayer idea that later representing taking initiative. These ideas transition into a faster tempo where a new theme is introduced that represents determination. The three thematic ideas alternate and development as the movement builds to a climax showing the power of the human spirit to survive catastrophe. This piece is recorded by The Zodiac Trio on their CD The Zodiac Trio.

Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1158411 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary,Historic. 33 pages. Https://gildedmusicpress.com/ #758693. Published by https://gildedmusicpress.com/ (A0.1158411). The year 2022 marked a milestone for the United States Air Force, as the world’s greatest airpower celebrated 75 years of air and space dominance. Omaha’s classical radio station was also celebrating a milestone year with its 50th anniversary. The resulting composition, cleverly titled “On the Air,� was written to observe both momentous anniversaries. The introduction plays on a cleverly adapted four-bar rhythmic motif that repeats, each time growing in intensity, conjuring images of a radio newsroom about to air breaking news. This opening rhythm is derived from Morse code letters K, V, N, & O (__ . __ | . . . __ | __ . | __ __ __), which is Omaha’s classical radio station. The main melodic theme begins after the intense introduction, stemming from the KVNO motif, and exudes energy worthy of the greatest of celebrations, replete with trumpets punctuating the strains with fanfare-like figures. After the KVNO transition to an exciting new key, the theme occurs a second time in the trumpets before simmering down to the second theme in a slower tempo, intended to be retrospective of the last 75 and 50 years of the two celebrating entities. In homage to the conflicts, sacrifices, and losses during 75 years of Air Force history, this melancholy melody in the horn repeats in octaves with horn and tuba, contrasting with the opening jubilation. However, without starkly “snapping back� to a celebratory mood, the original theme gently makes its reentry in the form of a mellow waltz with duetting trumpets, as a hopeful look to the future. The second iteration of the waltz brings back hints of the Morse code letters in the introduction, as underlying accompaniment to build energy and drive. It pivots fully with the KVNO introductory motif that changes keys while exploding with the recapitulation of the original full theme, intensifying the celebratory mood for the present festivities. The waltz version of the theme comes back, fragmented, hinting toward a fugato treatment. The non-fugal fragmentation is laced with virtuosically ornamented accompanimental lines reminiscent of a British-style brass band, and quickly settles into a full climactic presentation of the waltz iteration. The work ends full circle, with repeated KVNO rhythmic statements, in grand fashion for a firework finale.

Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.752458 By Various. By Hildur Gudnadottir. Arranged by Rob Bushnell. Contemporary,Film/TV,Folk,Religious,Sacred. 17 pages. RBMusic #6506025. Published by RBMusic (A0.752458). In 1982, the Vladimir Ilyich Lenin Nuclear Power Plant started a series of tests to simulate an electrical power outage to help create procedures for maintaining the circulation of the reactor coolant for the 60-75 seconds needed until the back-up generators got to full power. This was key to ensure that the coolant pumps did not stop working; otherwise, it could lead to the core overheating or, worse, the core melting down. The first test was unsuccessful, and, after some modifications, the test was repeated in 1984 and 1985. On 25 April 1986, a fourth test was scheduled to take place at 1415hrs during a controlled power-down of one of the reactors. However, at 1400hrs, another regional power station went offline, causing the test to be delayed by 10-hours. With the well-prepared day and evening crews’ shifts over, the test was left to the unprepared night crew. Unbeknownst to them, safety systems and protocols had been disabled or ignored earlier in the day, power-output issues had left the reactor in an unstable condition and there were basic design flaws with the reactor when it was constructed. All of this led to an uncontrolled chain reaction and, at some point around 01:23:45 in the morning of 26 April 1986, explosions and a fire destroyed a reactor building of reactor number 4 at Chernobyl. Radioactive contamination was released into the surrounding areas, 100,000s of people were evacuated, a 30-kilometre exclusion zone was put in place and whilst, officially, only 31 people died from this disaster, it has been estimated that between 4,000 and 16,000 fatalities are related to the events of that day. The area is likely to be unsafe for the next 20,000 years. The soundtrack to the TV mini-series Chernobyl is by the Icelandic composer, Hildur Guðnadóttir. The music is made, almost entirely, from sounds that she recorded at a decommissioned Nuclear power plant in Lithuania, giving it a very raw quality. She says the show itself portrays the disaster with respect and realism, and I was adamant the score reflects this. I wanted to show the viewer how it would feel to be there, and to tell this story of fear, loss and, ultimately, human error. Vichnaya Pamyat translated to Memory Eternal in Ukrainian, but a better English equivalent would be Rest in Peace. It is a hymn used during Ukrainian Orthodox Christian church funerals and memorial services.  Guðnadóttir’s arrangement is heard at the end of the final episode of the series. This arrangement is not in the original key and has been transposed to make it easier to play. A version in the original key is available, item number H0.1099667-SC004126925. The arrangement also includes alternative parts for tenor horn, treble-clef trombone/euphonium and tuba. A recording of the music from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=4Poc3MF8GFk.

Brass Ensemble Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.752457 By Various. By Hildur Gudnadottir. Arranged by Rob Bushnell. Contemporary,Film/TV,Folk,Sacred,Traditional. Score and parts. 17 pages. RBMusic #6504099. Published by RBMusic (A0.752457). In 1982, the Vladimir Ilyich Lenin Nuclear Power Plant started a series of tests to simulate an electrical power outage to help create procedures for maintaining the circulation of the reactor coolant for the 60-75 seconds needed until the back-up generators got to full power. This was key to ensure that the coolant pumps did not stop working; otherwise, it could lead to the core overheating or, worse, the core melting down. The first test was unsuccessful, and, after some modifications, the test was repeated in 1984 and 1985. On 25 April 1986, a fourth test was scheduled to take place at 1415hrs during a controlled power-down of one of the reactors. However, at 1400hrs, another regional power station went offline, causing the test to be delayed by 10-hours. With the well-prepared day and evening crews’ shifts over, the test was left to the unprepared night crew. Unbeknownst to them, safety systems and protocols had been disabled or ignored earlier in the day, power-output issues had left the reactor in an unstable condition and there were basic design flaws with the reactor when it was constructed. All of this led to an uncontrolled chain reaction and, at some point around 01:23:45 in the morning of 26 April 1986, explosions and a fire destroyed a reactor building of reactor number 4 at Chernobyl. Radioactive contamination was released into the surrounding areas, 100,000s of people were evacuated, a 30-kilometre exclusion zone was put in place and whilst, officially, only 31 people died from this disaster, it has been estimated that between 4,000 and 16,000 fatalities are related to the events of that day. The area is likely to be unsafe for the next 20,000 years. The soundtrack to the TV mini-series Chernobyl is by the Icelandic composer, Hildur Guðnadóttir. The music is made, almost entirely, from sounds that she recorded at a decommissioned Nuclear power plant in Lithuania, giving it a very raw quality. She says the show itself portrays the disaster with respect and realism, and I was adamant the score reflects this. I wanted to show the viewer how it would feel to be there, and to tell this story of fear, loss and, ultimately, human error. Vichnaya Pamyat translated to Memory Eternal in Ukrainian, but a better English equivalent would be Rest in Peace. It is a hymn used during Ukrainian Orthodox Christian church funerals and memorial services.  Guðnadóttir’s arrangement is heard at the end of the final episode of the series. This arrangement is in the original key. A transposed version, making it easier to play, is available, item number H0.1100563-SC004126925. The arrangement also includes alternative parts for tenor horn, treble-clef trombone/euphonium and tuba. A recording of the music from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=4Poc3MF8GFk.