Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1075287 Composed by Geoffrey Zanelli, Hans Zimmer, and Klaus Badelt. Arranged by Nicholas Wright. A Cappella,Broadway,Children,Contemporary,Film/TV,Musical/Show. Octavo. 15 pages. Nicholas Wright #679508. Published by Nicholas Wright (A0.1075287). Voicing: TTBB (all-male) Parts: 8 (includes solos/divisi) Pages: 14 Range: D2 - C5 Key: D minor.

Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.903300 By Keith Terrett. By Johann Sebastian Bach. Arranged by Keith Terrett. Baroque,Classical,Praise & Worship. 15 pages. Keith Terrett #509473. Published by Keith Terrett (A0.903300). A transcription of J.S. Bach's Duet from Cantata Number BWW 140.6 transribed for Recorder Quartet consisting of two Alto's, Tenor & Bass Recorder. The sixth movement, Mein Freund ist mein! (My Friend is mine!), is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano Soul and the bass Jesus.Gardiner notes that Bach uses the means of contemporary operatic love-duets in his use of chains of suspensions and parallel thirds and sixths. Dürr describes it as giving expression to the joy of the united pair, showing a relaxed mood in artistic intensity. Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'),[1] BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas Wachet auf, ruft uns die Stimme (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins. The text and tune of the three stanzas of the hymn appears unchanged in three of seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera. Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce the soprano), two oboes, taille, violino piccolo, strings and basso continuo including bassoon. Bach used the central movement of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it a cantata without weaknesses, without a dull bar, technically, emotionally and spiritually of the highest order, its sheer perfection and its boundless imagination rouse one's wonder time and time again.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855267 Composed by Conrad Kochier (1786-1872). Arranged by Joseph Pugh. Christian,Christmas,Classical,Concert,Standards. Score and parts. 2 pages. Joseph Pugh #6518121. Published by Joseph Pugh (A0.855267). Trained as a teacher, Conrad Kocher (b. Ditzingen, Wurttemberg, Germany, 1786; d. Stuttgart, Germany, 1872) moved to St. Petersburg, Russia, to work as a tutor at the age of seventeen. But his love for the music of Haydn and Mozart impelled him to a career in music. He moved back to Germany in 1811, settled in Stuttgart, and remained there for most of his life. The prestigious Cotta music firm published some of his early compositions and sent him to study music in Italy, where he came under the influence of Palestrina's music. In 1821 Kocher founded the School for Sacred Song in Stuttgart, which popularized four-part singing in the churches of that region. He was organist and choir director at the Striftsckirche in Stuttgart from 1827 to 1865. Kocher wrote a treatise on church music, Die Tonkunst in der Kirche (1823), collected a large number of chorales in Zions Harfe (1855), and composed an oratorio, two operas, and some sonatas. William H. Monk created the current form of DIX by revising and shortening Conrad Kocher's chorale melody for Treuer Heiland, wir sind hir, found in Kocher's Stimmen aus den Reiche Gottes (1838).-Hymnary.com Bert PolmanChristmas season wouldn't be complete without the Christmas Hymns. Joseph's arrangement of this classic Christmas Hymn will bring the Spirit of Christmas to your audience as well as, comfort and joy.Download it today and start getting ready for your Christmas gigs.

String Orchestra - Level 2 - Digital Download SKU: A0.908659 Composed by Johann Sebastian Bach. Arranged by Mark D Hettle. Baroque. Score and parts. 10 pages. Goomba Publishing Company (GPC) #3430741. Published by Goomba Publishing Company (GPC) (A0.908659). I arranged/orchestrated this beautiful Bach Chorale for the easy intermediate string orchestra. It can be used as a warm-up exercise or programmed in conjunction with other Bach Chorales that I've arranged. Attention should be directed at the many contrapuntal moving lines that occur throughout the composition. I hope you and your string orchestra enjoy rehearsing and performing my arrangement. Thank you!

Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg WidmannThis ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).

Choir - Digital Download SKU: A0.1059406 Composed by Traditional. Arranged by David Warin Solomons. Christian,Christmas,Classical,Praise & Worship,Renaissance. Full Performance. Duration 98. David Warin Solomons #3383557. Published by David Warin Solomons (A0.1059406). Arrangement for men's voices sung by the dwsChoraleif you would like the score (in B Dorian or D Dorian) please enter this code in the sheetmusicplus search box: S0.910609

String quartet - difficult - Digital Download SKU: S9.Q6411 Zum Gedenken an Robert Schumann. Composed by Aribert Reimann. This edition: score and parts. Downloadable, Score and parts. Duration 8 minutes. Schott Music - Digital #Q6411. Published by Schott Music - Digital (S9.Q6411). ‘I have always had a great fondness for the works by Schumann’, Aribert Reimann once said. There exists a close relationship even beyond the music: As owner of Schumann’s medical records from the mental asylum in Endenich, Reimann guarded the secret of the circumstances surrounding Schumann’s last weeks and death. When the musical world celebrated Reimann’s 70th birthday and commemorated the 150th anniversary of Schumann’s death in 2006, Reimann decided to publish the records and comment on them in his book “Robert Schumann in Endenich� (ED 9870). This book was presented to the public on 5 May 2006 at the Schumann Festival in Düsseldorf. For this occasion, as a musical bow to Schumann, Reimann composed the string quartet Adagio which the Heine Quartet premiered. Adagio is based on both Schumann’s Endenich chorales ‘Wenn mein Stündlein vorhanden ist’ and ‘Stärk und Mittler, dein sind wir’.

Brass Ensemble - Level 4 - Digital Download SKU: A0.699364 Composed by Giovanni Pierluigi da Palestrina. Arranged by Kenneth D. Friedrich. Renaissance. Score and parts. 260 pages. KFS Publishing #2964549. Published by KFS Publishing (A0.699364). Palestrina's major choral work, arranged for antiphonal brass quintet.  Twenty-nine chorales.  Over 90 minutes of music.https://soundcloud.com/knuxie35/canticum-cantorum

Full Orchestra - Level 3 - Digital Download SKU: A0.1019535 Composed by Peter Petrack. Contemporary. Score and parts. 167 pages. Distributed by The Wayfarer Partnership, LLC. #3516473. Published by Distributed by The Wayfarer Partnership, LLC. (A0.1019535). The Penitence of Time is an Orchestral tone poem based on the many ghost stories told about historic Bethlehem, Pennsylvania, especially those about Moravian College’s own music building, the 1748 Brethren’s House. It was used as a Revolutionary War hospital and meeting place for George Washington and his generals.   Bethlehem may or may not be a haven for phantoms and specters, but it is certainly defined by the centuries of history that happened there. Listeners will hear orchestral bells striking midnight, as well as references to church chorales and Revolutionary War-era fife and drum. If you'd like to hear the full recording, feel free to visit Peter Petrack's Youtube channel. 

Horn,Trombone,Trumpet,Tuba - Level 1 - Interactive Download SKU: A0.1441675 By ... By J. R. Ahle and Johann Sebastian Bach. Arranged by J. Randolph Hall. This edition: Interactive Download. Christian,Classical,Praise & Worship,Standards,World. 9 pages. Duration 82. J. Randolph Hall #qyWQMRqDCyXj1tjLxbIVc. Published by J. Randolph Hall (A0.1441675). Key: Eb major.Bach is a well know German composer of the Baroque period. He both composed sacred works and harmonized others. Ahle was a 17th Century organist, mayor (Mühlhausen), and composer of chorales. Section A is played moderate dymnamics and on the repeat, softer. A modulation to a new key occurs at the end of B section with the help of an Italian augmented sixth chord. A descant by yours truly is then added at the beginning of C. Sections C and D should be played with a little more grandeur.