Par MUHLRAD JACOB. Ay Li Lu explores the concept of lullabies as a universal human phenomenon by incorporating elements of Yiddish folk music and the chanting of the transfinite number of Pi. The piece aims to create a transition from an awakened state to an unconscious state through its musical transformations. The composer draws inspiration from Judaistic notions of sleep and the idea of the bod…

Par CHOSTAKOVITCH DIMITRI. Set of parts for String Quartet No. 6 In G Op. 101 by Dmitri Shostakovich./ Répertoire / Quatuor à Cordes

Konzert für Flöte, Streicher und Basso continuo. Par QUANTZ JOHANN JOACHIM. From among the nearly 300 flute concertos by Johann Joachim Quantz, the flute teacher of King Frederick the Great, the G-major work QV 5:174 has been enjoying a very special popularity ever since its rediscovery by the Dresden flautist Moritz Furstenau in the late 19th century. The principal source for the present Urtext e…

Par LAURIDSEN MORTEN. Four poems sharing a common motif of 'Night' provide the texts for my choral cycle Nocturnes, the American Choral Directors Association's commissioned work for its 2005 national convention. For Rilke's atmospheric 'Sa nuit d'ete,” several melodic themes are supported by dense, colorful harmonies in both the choral and piano parts, leading to a climactic section where all are …

Flexi-Brass (5 Parts) Organ, Percussion optional. Par VANGELIS. / Niveau : Intermédiaire / Répertoire / 3 Trompettes et 2 Trombones

John Luther Adams' The Wind In High Places for String Quartet. Score and parts.This work was commissioned to celebrate the 50th Anniversary of Theodore Front Musical Literature. It is dedicated to Christine Clark. / Quatuor A Cordes

31 Songs From Featured Character Roles (Women'S Edition). Character roles are a staple of theatre, film, television, and musical theatre. Rather than romantic leads, they are featured comic roles, villains, or off-beat secondary parts. These are their songs from stage and screen musicals./ Recueil / Chant de Femmes et Piano

Hob.XX:2. Par HAYDN FRANZ JOSEF. The Seven Last Words of our Saviour on the Cross (Die Sieben letzten Worte unseres Erlösers am Kreuze) (Hob. XX:2) Oratorio (Vocal Version) The original orchestral version of 'The Seven Last Words' (Hob. XX:1A), probably composed in 1785/86, was later arranged by Haydn into an oratorio, probably in 1795/96. It is scored for SATB soloists, mixed chorus (SATB) and or…

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violi…

Par JOLLIFFE EDMUND. Although the English madrigal has been fairly described by John Rutter as a completed historical form, its younger sibling the partsong still flourishes in the hands of sympathetic composers like Edmund Jolliffe, who can clothe secular texts with music a cappella that fits their sentiments like a glove. In fact John Donne 's verse, though of a later period, receives a setting …