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for SATB double choir unaccompanied A setting of Shakespeare's much-loved Sonnet 18, Bednall's expressive work highlights this timeless text with sumptuous harmony, including pleasing tonal shifts and topical false relations. Various choral textures are explored, from the imitative lines of 'Sometime too hot', to the warm richness of the closing pages, where the choir divides into eight parts. This work is part of the New Horizons series and a piano reduction is included for rehearsal purposes.
for SATB, piano, and optional saxophone, bass, and drum kit Ophelia, Caliban, and Miranda puts a jazzy twist on three Shakespearean characters. With newly written texts by Charles Bennett, each of the three movements focuses in on Ophelia from Hamlet and Caliban and Miranda from The Tempest. In the funky opener, 'River Bride', the upper voices take the part of Ophelia, while the tenors and basses play a lover figure. Caliban's song, 'Ariel taught me how to play', is a reflective ballad in which the slave tells Miranda, who has escaped his advances, about the spirit helper Ariel teaching him to play the saxophone. The final movement, 'All good things come to an end', is a sassy yet tender number, where Miranda bids farewell to her beloved husband Ferdinand, declaring: 'I've gone back to the island to remember who I am'. The saxophone, bass, piano, and drum kit parts may be played as written or serve as a guide.
for alto solo, SATB (with divisions), and guitar Following a collaboration with Katie Melua on her 2016 album 'In Winter', on which she worked with the Gori Women's Choir from her native Georgia), Bob Chilcott has created ans evocative and stirring arrangement of Rachmaninov's celebrated fifth movement of the Vespers (or 'All-Night Vigil'), which may be performed in Russian or in English.
for SATB (with divisions) and piano This sombre and evocative 'Stabat mater' is taken from Passion Music, a concert and liturgical work that continues Todd's fusion of jazz and choral music so successfully blended in his Mass in Blue. The delicate piano part often falls away to spiritual a cappella sections, and a soaring line for solo soprano rises out of the texture to draw the setting to a close.
for soprano solo, SSATB, and organ As Each Leaf Dances is a setting of a powerful text by Kevin Crossley-Holland about the cruelty of child abuse being overcome by love and kindness. Reflecting this, the first section features a relentless organ part, jagged vocal lines, and dissonant harmonies, before giving way to a jaunty, dancing, and uplifting second section.
This edition is complete, clear, and practical as well as being scholarly and authoritative. It returns to the primary sources to present the music and libretto as performed during the original Savoy Theatre run. Vocal scores and full scores include the complete libretto. Clearly printed orchestral parts, matching exactly the text given in the full and vocal scores, are available on hire. Vocal scores and full scores include all the important completed but discarded material, and a series of appendices includes hitherto unpublished material from the Ghost Scene and elsewhere. This is conveniently cued from the music pages for easy inclusion. The full score, handsomely engraved and bound, contains extensive introductory notes. This revised full score features editorial and typographic changes from the version published in 2000, owing in part to newly available source material and in part to the discovery of a small number of typographic errors in the original.
Die FAK-sangbundel se eerste verskyning in 1937 was ín belangrike kulturele gebeurtenis. Sedertdien was dit so wyd in aanvraag dat dit vier uitgawes en vyf herdrukke beleef het. In latere uitgawes is liedere wat nie veel aftrek gekry het nie weggelaat en gewildes wat vroeer ontbreek het, opgeneem. Tans word dit beskou as die mees omvattende bundel Afrikaanse lirieke met bladmusiek en dit dien as verwysingswerk vir ín groot aantal kulturele organisasies, koormeesters en skole. Dit is voorsien van ín register volgens liedere se titels en eerste reels sowel as ín rubriekindeling, waaronder vaderlandsliedere, natuurlirieke, liefdes-, kleuter- en slaapliedjies en gewyde liedere. Bekende Afrikaans digters en komponiste se talente word hier saamgevoeg, sowel as sensitief vertaalde Afrikaanse weergawes van wereldwye gunstelinge.
for SATB (with divisions) unaccompanied This piece sets a poem by Amy Lowell, vividly conveying the effect of the wind through a moving tapestry of eighth notes/quavers intertwined between the different voices. The melody floats over this breeze-like ostinato, sometimes effervescent, sometimes reposed. The piece concludes much like it begins, with a sense of calm and restfulness towards the nocturnal journey.
This hauntingly beautiful piece is extracted from Rutter's large-scale work Visions. The expressive solo line features long phrases, double stopping in thirds and sixths, and a quasi-improvised section, making it an ideal concert work for advanced violinists.
for SATB, organ, and optional handbells Through luminous choral harmonies, images of a winter night, and echoes of scripture, Advent Moon evokes deep human longing as well as the promise of the coming of light. The delicate organ accompaniment and optional handbells underscore both the haunting opening and the radiant conclusion of this piece.
for SATB unaccompanied The text for this imaginative and effective piece by Gabriel Jackson is a response to Allen Ginsberg's A Supermarket in California by Latvian poet Karlis Verdins, translated here by Ieva Lesinska. As in Ginsberg's poem, the initial setting is a supermarket, depicted with vivid imagery such as 'a weary, shrivelled apple', before the angel protagonist expounds on their observations about contemporary society. Pleasingly alliterative lines such as 'he'd babble boozily about tanks' are artfully given rhythmic emphasis by Jackson, who fully exploits the dramatic intent of the poem, giving space for the text to come through by homophonic setting, a pure harmonic language, and often sparse textures.
In The Complete Beatles Songs, Steve Turner shatters many well-worn myths and adds a new dimension to the Fab Four's rich legacy. This beautifully packaged book examines every Beatles-penned song and the inspiration behind them all; with fresh research and packed with new information, there are revelations aplenty. The book covers the Fab Four's entire output chapter by chapter and includes a complete set of printed lyrics to accompany each song, used with exclusive permission from the band's music publishers. Who was "just seventeen" and made Paul's heart go "boom"? Who was "Lady Madonna"? Was there really an Eleanor Rigby? What inspired "Happiness is a Warm Gun"? Why was Paul the "walrus" and what inspired the lyrics to Ringo's "Octopus's Garden"?
for SSATB unaccompanied This simple and exquisite miniature keeps the text, the fourth-century Latin Hymn to the Virgin Mary, at the fore, with instructions from the composer to accent the melodic lines according to word stress rather than position in the bar. The musical style is a fusion of old and new, with plainchant-like melodies and tonality set against expressively dissonant contemporary harmonies. Tota pulchra est was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189)
In die motto van hierdie reeks liedtekste vra Amanda Strydom: “Moet ek skryf oor die liefde / Moet ek skryf oor politiek / Oor die menslike kondisie / Oor ons blou planeet se siek?”
Dit is ook dan juis wat sy doen – haar vlymskerp lirieke ondersoek hierdie temas op ’n meesterlike wyse. Alhoewel Amanda op die verhoog ’n onvergeetlike belewenis is, bewys Kaalvoet dat haar woorde selfs sonder musiek ’n slag kan slaan.
Kaalvoet het die eerste keer in 2004 verskyn en die destydse drukoplaag het uitverkoop.
for SATB and organ with optional congregation Perfect for celebrating Pentecost, this joyous anthem on the theme of the Holy Spirit centres around the Veni Creator Spiritus plainchant, fragments of which have been skilfully developed to create an expressive setting of Edwin Hatch's Breathe on me, breath of God. Masterfully crafted, the anthem moves seamlessly between the familiar plainchant and Bullard's original melody, before culminating in a climactic final verse in which the two melodies are sung simultaneously, bringing the anthem to an exultant close.
for SATB double choir unaccompanied Written for the Choir of St Mary's Episcopal Cathedral, Edinburgh, The Presence sets lines from Psalms 18, 27, 36, 112, and 119. It was inspired by A. E. Borthwick's painting of the same title, which hangs in St Mary's, and the texts chosen are mainly concerned with light. The performance directions used - 'luminous', 'resonant', 'dark', 'ethereal' - express the setting's intense atmosphere and almost visual sense of space and lustre. While suitable for services and concerts throughout the year, The Presence is especially appropriate for performance during Advent.
for SATB, congregation, and organ In this version of the popular English hymn, Rutter adorns the well-known melody with an opening fanfare and soaring descant line over the final verse. It is intended that the congregation join in the singing. Full scores and sets of parts for the brass ensemble accompaniment are available on hire from Oxford University Press.
for SATB and harp or piano In this arrangement of the traditional Irish hymn Be thou my vision, Rutter sets the 8th-century text (in its English translation) to the Irish folk melody known as Slane, the tune to which it has been sung since 1919. Rutter's harmonies and piano/harp accompaniment add to the enchanting Gaelic style. An alternative setting of the same text, to original music by John Rutter, is also available from Oxford University Press.
WINNER OF THE 2016 NOBEL PRIZE FOR LITERATURE `100 Songs is a good start, for anybody lucky enough to be starting out with such a genius' The London Evening Standard A new collection of Bob Dylan's most essential lyrics - one hundred songs that represent the Nobel Laureate's incredible musical range through the entirety of his career so far. `The Nobel acknowledges what we've long sensed to be true; that Mr. Dylan is among the most authentic voices America has produced, a maker of images as audacious and resonant as anything in Walt Whitman or Emily Dickinson.' Dwight Garner, New York Times 'The Nobel committee got this right - Dylan's ongoing achievement in American song is a literary feat to celebrate in his gaudiest of ways.' Rob Sheffield, Rolling Stone Bob Dylan is one of the most important songwriters of our time and the first musician in history to win the Nobel Prize for Literature. In 100 Songs, Dylan delivers an intimate and carefully curated collection of his most important lyrics that spans from the beginning of his career through the present day. Perfect for students and younger readers as well as long-time fans, this portable, abridged volume of Dylan's lyrics shines a light on the songs that mean the most from a music and cultural legend.
Vaughan Williams wrote Symphony No. 8 between 1953 and 1955 while in his eighties. It is his shortest symphony and considered by many to be his least serious. Aside from a few sombre moments, the symphony is optimistic in mood and displays Vaughan Williams's love for exotic and colourful combinations of instruments with a percussion sections that, he said, employs "all the 'phones and 'spiels known to the composer". For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. The full score is completed with Textual Notes and Preface, and accompanying orchestral parts are available on hire.
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