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Sanctus

Sanctus

Ola Gjeilo, born in 1978 in Norway, moved to the United States when he was 23 years old to study composition at the Julliard School. He composed this dense and richly textured setting of the Sanctus for the UranienborgVokalensemble shortly after he graduated in 2006. Eric Wilson has skillfully captured the magic of the original choral work in this transcription for winds. Ola Gjeilo stated the following regarding Sanctus: It's one piece of minethat remains closest to my heart. Dur: 4:20 (Recorded by the Baylor Wind Ensemble, J. Eric Wilson, conductor)

SEK 1099.00
1

The Kodaly Way To Music Vol. 1 : The Method adapted for British Schools

The Kodaly Way To Music Vol. 1 : The Method adapted for British Schools

Incorporate Kodály principles in the classroom and beyond with this sequential approach to experiencing music and developing musical literacy. Designed for both the class teacher and music specialist, this 2-volume series featuressinging games, reading rhythms and melodies through handsigns and motives, ear training, vocal intonation, staff notation, recognizing pitch by sight and sound, pentatonic range, dictation, introduction to part singing, diatonicdevelopment and much more!

SEK 250.00
1

Benedictus : from The Armed Man: A Mass for Peace

Benedictus : from The Armed Man: A Mass for Peace

Karl Jenkins’ “Benedictus”, the penultimate movement from “The Armed Man: a Mass for Peace”, is now firmly established as a classic in its own right. In the words of Guy Wilson, former Master of the Armouries and commissioner of the parent work, “even the survivors can be hurt to destruction by war. The Benedictus heals those wounds in its slow and stately affirmation of faith”.This new publication makes the Benedictus available for performance as a separate work, with piano accompaniment. The score includes the iconic introductory cello solo part on its own page, although performance with cello is optional. The edition is compatible with that in the complete Armed Man vocalscore and therefore with the work’s scorings for orchestra, ensemble, brass band and concert band.

SEK 91.00
1

Requiem da Camera

Requiem da Camera

New edition with completion by Christian Alexander of the young composer’s first extended work; only the instrumental prelude was performed during Finzi’s lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson.Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havocand destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

SEK 409.00
1

Requiem da Camera

Requiem da Camera

New edition with completion by Christian Alexander of the young composer’s first extended work; only the instrumental prelude was performed during Finzi’s lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson.Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havocand destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

SEK 186.00
1

Serenity

Serenity

Norwegian composer Ola Gjeilo is an emerging star in the realm of choral works, and also with music for Wind Band. Similar to his earlier band works Meridian and The Spheres, Serenity is based on asuccessful choral work. Beautifully arranged by J. Eric Wilson along with the composer, this version for wind band maintains all the wonder and magic of the original work.The opening is ethereal and somber, withsustained chords in Clarinets and bowed Percussion supporting a delicate Oboe solo. The middle section shifts the principal modality from minor to major, and the layering orchestration and rising tessitura creates a tremendousrushof energy that leads to a triumphant climax. The closing section returns to the timbre of the opening, but now painted with hopefulness and healing.

SEK 170.00
1

Millennial Suite: Hymns through the Ages : No. 6 Now we return

Millennial Suite: Hymns through the Ages : No. 6 Now we return

Now we return is the final movement of the work Millennial Suite: Hymns through the Ages. The work's six movements make imaginative use of popular hymns that are presented in chronological order.The words for Now we return were written by Rev. Dr. Harold A. Wilson, and are based on the Benediction that he uses at he end of his Sunday morning service. For these words the choir sings an original melody while the organ part maintains the constant passage work that is heard in the opening few bars. By way of concluding the entire work in a triumphant fashion, the hymn tune of the second movement, Ein feste Burg ist unser Gott, enters in long note values in the pedal part.

SEK 80.00
1

Serenity

Serenity

Norwegian composer Ola Gjeilo is an emerging star in the realm of choral works, and also with music for Wind Band. Similar to his earlier band works Meridian and The Spheres, Serenity is based on asuccessful choral work. Beautifully arranged by J. Eric Wilson along with the composer, this version for wind band maintains all the wonder and magic of the original work.The opening is ethereal and somber, withsustained chords in Clarinets and bowed Percussion supporting a delicate Oboe solo. The middle section shifts the principal modality from minor to major, and the layering orchestration and rising tessitura creates a tremendousrushof energy that leads to a triumphant climax. The closing section returns to the timbre of the opening, but now painted with hopefulness and healing.

SEK 1093.00
1

77 Two-Part Exercises

77 Two-Part Exercises

77 Two-Part Exercises came into being to supply the need for exercises shorter and easier than others in the series 66 Two-Part Exercises to 22 Two-Part Exercises.It is important to practise two-part singing from the very beginning; at first with hand-signs, then by sol-fa letters, and, as soon as the pupils are reading music, from staff notation. [...]Besides archaic Hungarian songs I have tried to use and adapt into two-part settings some very interesting Ainou motives taken from the collection of Mr Kazuyuki Tanimoto and Mr Yuki Masuda, issued by the Tokyo Radio.Sight-reading must at all times offer fresh material, including some unusual turns of melody and rhythm, butremaining always sound and attractive music, never degeneration into mere mechanical exercises.Two-part sight-reading without any instrument is the most effective means of making rapid progress and acquiring confidence in both rhythm and intonation. Movable Doh helps the understanding of modulation and the musical significance of each note of a melody. Without this no thorough musicianship is possible.Zontán Kodály

SEK 170.00
1

Requiem da Camera : Organ reduction for use instead of orchestral accompaniment

Requiem da Camera : Organ reduction for use instead of orchestral accompaniment

This organ reduction is intended to use instead of the original orchestral accompaniment; it is compatible with new edition of Requiem da Camera by Christian Alexander (BH 12681). The organ reduction was done by Francis Jackson, doyen of English cathedral organists and titulaire at York Minster for 36 years. Jackson sympathetically recreates the chamber orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particularinstrument, size of choir and acoustic setting at each individual performance.The user-friendly landscape score includes at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full.Requiem da Camera was Finzi’s first extended work; only the instrumental prelude was performed during his lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson. Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havoc and destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

SEK 229.00
1