Dvorak's choral masterpiece was first performed at the Birmingham Festival on October 9, 1891 under the composer's direction. It immediately entered the standard repertoire. This new vocal score is a digitally-enhanced reissue of the one edited by Karel Solc as part of Dvorak's complete works, published by the Czech State publishing concern, SNKLHU, in the late 1950s. Now in a very readable A4 size, this score will be a welcome addition for vocalists, choruses and pianists alike.

This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.

Birdy: The Piano Songbook is the artist-approved songbook from award-winning English singersongwriter Birdy. Specially curated by the artist herself, the book includes an introduction from her alongside accurate transcriptions of her most popular songs, many in print for the first time.

A Meditation on the Sacred Passion of the Holy Redeemer, for Tenor and Bass solo, SATB Choir with Organ accompaniment, with hymns for congregational participation. The text was selected and written by Reverend J. Sparrow-Simpson, and revised by Michael Pilkington. The Crucifixion was first performed in 1887. This Novello edition of the vocal score is clear and well presented, with thoroughly accurate and detailed editorial markings and suggestions, as edited by Michael Pilkington.

This exceptional cantata was probably first heard at the Thomaskirche in Leipzig on June 16, 1726, though scholars cannot rule out it being composed for a festival later that year or early in 1727. The new digitally-enhanced vocal score presented here is reproduced from the series first issued to coincide with the monumental Bach Gesellschaft Ausgabe by Breitkopf und Hartel of Leipzig just over a century ago with keyboard reductions by Bernhard Todt.

An insteresting case of self-borrowing. Bach took music from this work for his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum sancto spiritu). This unusual cantata, the only one with a Latin text, may have been written to celebrate the Peace of Dresden (which ended the 2nd Silesian war) and first performed on Christmas day, 1745. This newly engraved, carefully edited vocal score is based on the Bach Gessellschaft edition. The convenient A4 size is ideal for vocalists, choruses, and rehearsal pianists.

Heather Laing examines, for the first time, the issues of gender and emotion that underpin the classical style of film scoring, but that have until now remained unquestioned and untheorized, thus providing a benchmark for thinking on more recent and alternative styles of scoring. Many theorists have discussed this type of music in film as a signifier of emotion and 'the feminine', a capacity in which it is frequently associated with female characters. The full effect of such an association on either female or male characterization, however, has not been examined. This book considers the effects of this association by progress through three stages: cultural-historical precedents, the generic parameters of melodrama and the woman's film, and the narrativization of music in film through diegetic performance and the presence of musicians as characters. Case studies of specific films provide textual and musical analyses, and the genres of melodrama and the woman's film have been chosen as representative not only of the epitome of the Hollywood scoring style, but also of the narrative association of women, emotion and music. Laing leads to the conclusion that music functions as more than merely a signifier of emotion. Rather, it takes a crucial role in both indicating and determining how emotion is actually understood as part of the construction of gender and its representation in film.

New digitally-enhanced reprint of the classic vocal score issued by Breitkopf & Hartel in the early 20th century edited by the eminent musicologist Eusebius Mandyczewski.

(Piano Solo Songbook). 100 pop and classical standards that every piano player should master, including: Air on the G String * Bridge over Troubled Water * Canon in D * Clair de Lune * Fields of Gold * Fur Elise * I Dreamed a Dream * I Will Always Love You * Imagine * Lullaby of Birdland * Memory * Misty * Moon River * On My Own * Over the Rainbow * The Shadow of Your Smile * Smile * Stardust * Summertime * Sunrise, Sunset * Time After Time * Unexpected Song * The Way You Look Tonight * We've Only Just Begun * What a Wonderful World * Yesterday * You Raise Me Up * Your Song * and more

This much-loved book is a collection of over one hundred songs, some well known, some less known, collected over the years by experienced Waldorf teacher Brien Masters. They are graded for different ages from Class 3 (age 8) to Class 8 (age 14) and grouped into festivals and seasons. They include rounds and four-part songs, and musical notation for recorders and other instruments. This is a wonderful resource for Steiner-Waldorf class teachers, and any teacher or parent looking to introduce music to their classroom or home.

This rhythmic and spirited setting of the familiar hymn starts off with men's voices split into three- to six-part harmony in homophony. The women join and the texture thickens and varies producing a broad and spacious sound, decorated with syncopation and dramatic pauses. This compelling arrangement is certain to gain standing ovations and is a 'must have' for larger church, concert, and university choirs.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

50 wonderful traditional and contemporary Irish melodies arranged by Sylvia Woods for both beginning and advanced hard players. Songs include: The Castle of Dromore * Cockles and Mussels * Danny Boy * The Gartan Mother's Lullaby * Killarney * Limerick Is Beautiful * My Wild Irish Rose * Sweet Rosie O'Grady * Warin' o' the Green * When Irish Eyes Are Smiling * Too-Ra-Loo-Ra-Loo-Ral * and more. Also includes an alphabetical index and an index of first lines. Spiral bound.

Newly engraved and revised edition of Gleichauf's classic vocal score. Composed in in Salzburg in 1769, Mozart modeled this youthful work closely on a similar one by Michael Haydn (for which reason its authenticity had long been questioned). Mozart's piece divides the lengthy liturgical text into three contrasting sections, including a final rousing double fugue. Musicologist Alfred Einstein described the work as "sure in construction, thrilling in its choral declamation, and having a certain rustic South-German grandeur."

Nominated for a whopping 10 Tony Awards and grossing more than $1 million each week, Wicked is this year's Broadway smash! A prequel to the all-American classic The Wizard of Oz, this new musical is a character study of Elphaba and Glinda, school roommates who grow up to become the Wicked Witch and the Good Witch, respectively. We are very proud to offer two songbooks featuring this delightful music: a Vocal Selections book which contains the vocal line with piano accompaniment (00313268), and a Piano/Vocal Selections book, in standard piano/vocal format with the melody in the piano part (00313267). Both songbooks feature a special section of color photos from the production, a note from composer/lyricist Stephen Schwartz, and these fantastic tunes: As Long as You're Mine * Dancing Through Life * Defying Gravity * For Good * I Couldn't Be Happier * I'm Not That Girl * No Good Deed * No One Mourns the Wicked * One Short Day * Popular * What Is This Feeling? * The Wizard and I * Wonderful.