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Concert Band - Level 5 - Digital Download SKU: A0.1485710 Composed by Franz Lehar. Arranged by Albert Schwarzmann. 19th Century,20th Century,Opera,Romantic Period,Singer/Songwriter. 83 pages. Edition Schwalbe #1062781. Published by Edition Schwalbe (A0.1485710). Freunde, das Leben ist lebenswert! (Life Is Worth Living, My Friends) is an aria from Giuditta, the last operetta by Austrian-Hungarian  composer  Franz (Ferenc) Lehár, first performed on 20th January 1934 at Vienna State Opera in Austria. It's the first performance aria of Octavio,  a part for a powerfol tenor singer. The large orchestral score is not easy to balance with the tenor part, perhaps even more tricky with wind orchestra.  The arrangement is kept in the original key of the composition for symphony orchestra. Is was first time performed by Mozarteum Wind Philharmonic Salzburg   conducted by Hansjoerg Angerer on 23rd April 2016 in Salzburg, Austria with native of Thailand tenor Nutthaporn Thammathi at their concert Spring in  Sanzburg and repeated by Salzburg Wind Philharmonic with same conductor and soloist at their Three Kings' Concert on 6th January 2023 in the  Grosses Festspielhaus (Large Festival Hall) in Salzburg, Austria and broadcasted live by Austrian television. Live recordings of both concerts are available at  https://www.salzburg-windphilharmonic.at/de/freunde-das-leben-ist-lebenswert/ and  https://www.salzburg-windphilharmonic.at/de/musikalische-verfuehrung-fruehling-in-salzburg/ or https://www.jpc.de/jpcng/classic/detail/-/art/freunde-das-leben-ist-lebenswert/hnum/11521748 and  https://www.jpc.de/jpcng/classic/detail/-/art/musikalische-verfuehrung/hnum/10428713/?iampartner=303&subid=umr7&ref=partner.jpc.de.
"Freunde, das Leben ist lebenswert!" (Life Is Worth Living, My Friends)
Orchestre d'harmonie

$82.00 71.1 € Orchestre d'harmonie PDF SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1360731 By Taylor Swift. By Annie Clark, Jack Antonoff, and Taylor Swift. Arranged by Aaron Bennett. Pop,Wedding. 8 pages. StringfulScores.com #945223. Published by StringfulScores.com (A0.1360731). Taylor Swift's recent chart hit 'Cruel Summer' from her seventh studio album 'Lover' arranged for Violin and Cello Duet (String Duo) by Aaron Bennett.This arrangement retains the original key and offers melodic and rhythmic interest for both players. This song is also available for String Quartet & String Trio (opt. Violin 2/Viola).Other Taylor Swift arrangements by Aaron Bennett include:- Wildest Dreams- Anti-Hero- WillowFor more arrangements by Aaron Bennett, visit: StringfulScores.com 
Cruel Summer
Violon, Violoncelle (duo)
Taylor Swift
$10.99 9.53 € Violon, Violoncelle (duo) PDF SheetMusicPlus

String Trio Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1293156 By Taylor Swift. By Annie Clark, Jack Antonoff, and Taylor Swift. Arranged by Aaron Bennett. Pop,Wedding. 14 pages. StringfulScores.com #883790. Published by StringfulScores.com (A0.1293156). Taylor Swift's recent chart hit Cruel Summer from her seventh studio album LOVER arranged for String Trio (optional Violin 2 and Viola parts) by Aaron Bennett.This arrangement retains the original key and offers melodic and rhythmic interest for every player. This song is also available for String Quartet.Other Taylor Swift arrangements by Aaron Bennett include:- Wildest Dreams- Anti-Hero- WillowFor more arrangements by Aaron Bennett, visit: StringfulScores.com
Cruel Summer
Trio à Cordes: violon, alto, violoncelle
Taylor Swift
$15.99 13.86 € Trio à Cordes: violon, alto, violoncelle PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.46 € Chorale TTBB PDF SheetMusicPlus

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1413812 By Wolfgang Amadeus Mozart. By Wolfgang Amadeus Mozart. Arranged by Sean Sullivan. Classical,Religious,Sacred. 17 pages. Sean Sullivan #995598. Published by Sean Sullivan (A0.1413812). This beautiful and haunting piece is perfect for saxophone ensembles looking to showcase their talents and captivate audiences with the timeless music of Mozart. The arrangement stays true to the original composition while also providing unique and exciting challenges for each member of the quintet. Whether you're a seasoned saxophonist or looking to expand your repertoire, this arrangement of Benedictus is sure to impress both performers and listeners alike. Don't miss out on this opportunity to add a touch of classical elegance to your next performance. Order your sheet music for Benedictus from Mozart's Requiem for saxophone quintet today and elevate your ensemble's musical offerings to a whole new level.
Benedictus
Quintette de Saxophone: 5 saxophones
Wolfgang Amadeus Mozart
$14.99 13 € Quintette de Saxophone: 5 saxophones PDF SheetMusicPlus

Organ - Medium - Digital Download SKU: MQ.10-355-03E Composed by Paul Manz. Christmas, Easter, Lent, Pentecost. 3 pages. MorningStar Music Publishers - Digital Sheet Music #10-355-03E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-355-03E). Set 5 of the commemorative edition of the Ten Chorale Improvisation books that made Paul Manz such a well respected composer. Written over a period of time from 1968 to 1980, and include some of the most well-known works of Paul Manz. Each volume contains a biography of Dr. Manz, full indexes of his complete works as well as historical information. Tunes include: ALLEIN GOTT IN DER HOH CWM RHONDDA GELOBT SEI GOTT JESU, MEINE FREUDE JESUS, MEINE ZUVERSICHT O JESU CHRISTE, WAHRES LICHT PICARDY ST. MICHAEL SOLLT ICH MEINEM GOTT WER NUR DEN LIEBEN GOTT.
O Christ, Our Light, O Radiance True (Downloadable)
Orgue

$5.00 4.34 € Orgue PDF SheetMusicPlus

Mixed choir (SSAATTBB) a cappella - intermediate - Digital Download SKU: S9.Q7169 Für gemischten Chor (SSAATTBB) a cappella. Composed by Bertold Hummel. This edition: choral score. Schott Choral Music. Downloadable, choral score. Op. 97e, 1. Duration 4 minutes. Schott Music - Digital #Q7169. Published by Schott Music - Digital (S9.Q7169). German.Die Motette Gegrüßet seist du, Maria komponierte Bertold Hummel am 20. Mai 1993 und widmete sie dem Gedenken seiner tief gläubigen Schwester Erika. Mein Vater, der im selben Jahr auch das Würzburger Brucknerfest mitbegründete, verstand diese Motette bewusst auch als Gruß an Anton Bruckner, dessen berühmtes 7-stimmiges Ave Maria er anklingen lässt: Im ersten Abschnitt wählten beide Komponisten die Gegenüberstellung von Ober- und Unterstimmen, und auf den Namen Jesus zitiert Bertold Hummel die brucknersche Schlusskadenz vor dem Amen. Im Jahr 1997 erstellte er nach dieser Vorlage eine lateinische Version. (C 53543)Der Text dieses sogenannten Englischen Grußes basiert auf den Bibelstellen des Lukas-Evangeliums (Lk 1, 28b, 42) die sich im Laufe der Zeit um Zusätze wie Jesus (14. Jh.) und die Anrufung Mariens (16. Jh.) erweiterten. Im Jahr 1568 erhielt er durch die Aufnahme in das Brevier Pius' V. offiziellen Gebetscharakter. Die hier vertonte deutsche Übersetzung entspricht der seit 1968 gebräuchlichen ökumenischen Fassung. Martin Hummel 2009.
Gegruesset seist du, Maria
Chorale SSAATTBB

$4.99 4.33 € Chorale SSAATTBB PDF SheetMusicPlus


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