SKU: A0.1290728

Laudamus te - Aria for Soprano from Mass in G Major, Carlos Seixas - Fullscore and parts
Carlos Seixas (1704-1742) was a Portuguese composer and organist who had close contact with the avant-garde European music of his time. Despite never leaving Portugal, Seixas collaborated with Domenico Scarlatti, who was the chapel master of the Portuguese court. Seixas is considered the most important Portuguese baroque composer of keyboard music. Although none of his original works survived, he is credited with composing approximately 700 toccatas. Of these, only ninety-five survived in authenticated sources, along with other instrumental pieces and ten complete vocal works, including the Mass in G major. This mass is written for four soloists (soprano, alto, tenor, and bass), choir, and strings. It is divided into five parts: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. In addition to the choral sections, this piece also includes four arias, one for each soloist, two duets for soprano and alto, and a trio for soprano, alto, and tenor.

SKU: A0.1485456

Qui sedes - Duet for Soprano and Alto from Mass in G Major - Fullscore and Parts
Carlos Seixas (1704-1742) was a Portuguese composer and organist who had close contact with the avant-garde European music of his time. Despite never leaving Portugal, Seixas collaborated with Domenico Scarlatti, who was the chapel master of the Portuguese court. Seixas is considered the most important Portuguese baroque composer of keyboard music. Although none of his original works survived, he is credited with composing approximately 700 toccatas. Of these, only ninety-five survived in authenticated sources, along with other instrumental pieces and ten complete vocal works, including the Mass in G major. This mass is written for four soloists (soprano, alto, tenor, and bass), choir, and strings. It is divided into five parts: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. In addition to the choral sections, this piece also includes four arias, one for each soloist, two duets for soprano and alto, and a trio for soprano, alto, and tenor.

SKU: A0.533052

In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie� and a dedication “à L'Harmonie Municipale de Lyon�. The pages which followed contained the score of “Choral� for organ with optional brass and “Fugue� for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the full score. The woodwind parts and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.

SKU: A0.1182869

Introducing the mesmerizing and enchanting original score to Beware the Jabberwocky, composed by Thomas Fernando. The score is written for a full orchestra, featuring two solo violins and a solo viola, which add depth and richness to the already captivating music. All cues from the film have been notated fully, in their original orchestration.

Directed by Sasha Gorman, a graduate of the Victorian College of the Arts, Beware the Jabberwocky weaves the language of bodily movement and dance. The film follows a Knight as she sets out to ensnare and slay her rival, the terrifying Jabberwocky. As the knight comes face to face with her foe, the two engage in an epic battle that will leave viewers on the edge of their seats. But as the duel between the Knight and the Jabberwocky intensifies, something unexpected begins to emerge between them: despite their differences, a deep and powerful connection takes hold, blurring the lines between love and rivalry. This emotive and compelling score underscores the epic fantasy battle between the knight and the Jabberwocky, drawing the viewer into the film's world and heightening the narrative's emotional impact.