The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach's life, it is considered by many to be the composer's greatest and most complex work. The fourteen essays assembled in this volume originate from the International Symposium 'Understanding Bach's B-minor mass' at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach's Opus Ultimum, including a wide range of discussions relating to the Mass's historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth and early nineteenth centuries. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known.

Gregorian chant belongs to the oldest music being preserved in such scope till present; moreover it is still performed but also is one that mostly influenced the history and presence of music. For the reason it is important for ukulele players to meet this kind of music. The equipment for ukulele players includes campanela style which is the best for Gregorian chant play. This style helps to induce a large cathedral reverb. Therefore, left hand fingering is written above tablatures. Try to keep it and have strings drone. The book contains 44 tunes for standard ukulele tuning (g-c-e-a). Includes: Veni Creator Spiritus, Stabat Mater, Veni Sancte Spiritus, Pater Noster, Missa XI, Ave Maria, Ave Verum Corpus and many more...

Gregorian chant belongs to the oldest music being preserved in such scope till present; moreover it is still performed but also is one that mostly influenced the history and presence of music. For the reason it is important for ukulele players to meet this kind of music. The equipment for ukulele players includes campanela style which is the best for Gregorian chant play. This style helps to induce a large cathedral reverb. Therefore, left hand fingering is written above tablatures. Try to keep it and have strings drone. The book contains 44 tunes for standard ukulele with low G tuning (g-c-e-a). Includes: Veni Creator Spiritus, Stabat Mater, Veni Sancte Spiritus, Pater Noster, Missa XI, Ave Maria, Ave Verum Corpus and many more...

Bumblebee Rounds & Warm-ups for Choirs is more than just a collection of more than 80 choir exercises. Michael Griffin, an Australian who has taught and consulted throughout the world, shares timeless wisdom to help you get your choir into shape.

This is a new, digitally-enhanced reprint of the classic vocal score edited by H.W. Nicholl, with a piano reduction arranged by Felix Mendelssohn that was first issued in 1900 by G. Schirmer of New York. With English text by Charles Jennens adapted from the Bible, this authoritative score is now available in an affordable, easy to read format designed for choruses everywhere.

for SATB and harp/piano This delightful choral work brings together arrangements of four well-loved folksongs: 'Green Bushes', 'The Rambling Sailor', 'The Crystal Spring', and 'O, No John!'. A joyful celebration of youthful love and courtship, A Fancy of Folksongs bears all the hallmarks of Cecilia McDowall's appealing and popular style: rhythmic vitality, occasional astringent harmonies, and strong melodies, all brought together to create a distinctive and fresh sound. A Fancy of Folksongs can be accompanied by piano or harp (harp part available separately), and it is sure to be an instant hit with all lovers of McDowall's music. Vocal scores and harp part are available on sale and on hire/rental.

This is an in-depth study of a seminal work, first performed in 1727.Johann Sebastian Bach's the "St. Matthew Passion" stands as a singular expression of religious sensibility. Conceived within the constraints of Bach's role as cantor of the St. Thomas Church in the provincial German city of Leipzig, the music has a power and profundity that readily transcend time and place. Yet the darkness of the subject - the betrayal, trial, and crucifixion of Jesus - and the complexity and sophistication of Bach's compositional techniques can be difficult listening for even the most eager novice.By highlighting the inspiration Bach drew from opera, this book truly illuminates the hybrid forms that comprise the work, thereby clarifying many of the composer's dramatic strategies. Drawn from the "Gospel of St. Matthew", the narrative sections - featuring characters including the narrator - Evangelist, Pilate, Peter, Judas, and Jesus himself - have tremendous theatrical power, while non-Biblical arias and chorales offer moments of deep reflection and consolation. This book shows the willing but intimidated beginner the way into the intricacies of Bach's masterwork while unveiling subtleties for the more knowledgeable listener as well. Finally, Lederer recounts the fascinating performance history of the piece and looks at the merits of different recordings of this extraordinary work, indisputably one of the cornerstones of Western music."Magnum Opus" is a series for anyone seeking a greater familiarity with the cornerstones of Western Classical Music - operatic, choral and symphonic. Always passionate, down-to-earth, and authoritative on the works and their creators, "Magnum Opus" is an indispensable resource for anyone's musical library and the perfect gift for the music-lover in your life.

The writing of a requiem is a special challenge for any composer. The great requiems of the past by composers such as Mozart, Verdi and Berlioz interpret the sacred requiem text literally, offering prayers of salvation for the departed, whose souls are assumed to be in purgatory facing a terrible judgment.
Eternal Light: A Requiem, by the Emmy Award winning British composer and internationally acclaimed broadcaster Howard Goodall is a stunning new requiem for the modern day. In contrast it is intended to provide solace to the grieving, reflecting on the words of the Latin Mass by juxtaposing them with poems in English. Speaking about the work, Howard Goodall said, "For me, a modern requiem is one that acknowledges the unbearable loss and emptiness that accompanies the death of loved ones, a loss that is not easily ameliorated with platitudes about the joy awaiting us in the afterlife. This, like Brahms', is a requiem for the living, addressing their suffering and endurance, a requiem focusing on the consequences of interrupted lives."
Also available in single octavo format, is Lead, Kindly Light (057153323X).
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Dubois' oratorio was given its premiere on Good Friday (April 19), 1867 at glise de la Madeleine in Paris under the composer's direction. Although first published in 1886 by Georges Hartmann of Paris, the vocal score presented here is a digitally enhanced reprint of the one first produced in 1899 by G. Schirmer of New York, with an English translation beneath the original Latin text by Theodore Baker (1851-1934). This score has been carefully reviewed, with measure numbers and rehearsal letters added. It is now completely compatible with the widely available full score and orchestral parts issued by Edwin F. Kalmus. The large (A4) size makes it particularly easy to read for choruses both at both professional and community levels.

Composed in 1718 while Handel was residing in Cannons Park. Like the other Chandos Anthems, it was comissioned by the Earl of Carnarvon James Brydges, subsequently named First Duke of Chandos. The anthem was first performed that year under the composer's direction ay St. Lawrence's Church in Cannons Park. The text is taken from Psalms 117, 135, and 148 in Nahum Tate and Nicolas Brady's 1696 "New Versions of the Psalms."This complete vocal and pano score, edited by Max Seiffert with a piano reduction by Karl Pasler, is an unabridged reprint of the score first issued by Breitkopf & Hartel, Leipzig ca. 1900.

A first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped "America's choir." Here is the miraculous story behind the Tabernacle's world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir's aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism's crossover triumph. Yet, as Hicks shows, such success raised fundamental concerns regarding the Choir's mission, functions, and image.

(Amadeus). The subjects of this third volume range from survivors of the so-called Golden Age of the 1890s, such as the formidable Lotte Lehman, to those whom the 20th century has bequeathed to the 21st, such as Cecilia Bartoli and Ian Bostridge. This is a personal selection that includes many of the great names, including Melchior, heldentenor of the century, and Gigli, the most popular Italian singer of his generation. The entire series (for this is the final volume) ends with a chapter on Caruso, still widely regarded as the greatest of all.Steane's critical essays seek out the special qualities of each singer and relate them to wider concerns in music and in life. His eloquent descriptions of the nuances of the vocal art are wonderful examples of the best kind of music appreciation. HARDCOVER.

This collection of German songs contains two strains of tradition: the political song and the folk song. It is not always clear where the distinction between the two can be drawn, since many political songs become folk songs due to their popularity, and many folk songs have a clear, emancipatory - and thus political - dimension. But the main criterion for inclusion in this anthology is the popularity a song has enjoyed, either down through the centuries or more recently, in German-speaking or non-German-speaking countries. The addition of scores is another plus, offering an opportunity to recognize the songs musically.

The text is an entertaining exploration of Latin verse including Latin lyrics for 17 songs, English translations, vocabulary, composer biographies, background on social/historical significance of each song, and illustrations.

The cassette features Dr. Clayton Lein of Purdue University directing the Lafayette Chamber Singers.

The practices of singing and teaching singing are inextricable, joined to each other through the necessity of understanding the vocal art and craft. Just as singers must understand the physical functions of voice in order to become musically proficient and artistically mature, teachers too need to have a similar mastery of these ideas - and the ability to explain them to their students - in order to effectively guide their musical and artistic growth. With this singer-instructor relationship in mind, Richard and Ann Alderson's A New Handbook for Singers and Teachers presents a fresh, detailed guide about how to sing and how to teach singing. It systematically explores all aspects of the vocal technique - respiration, phonation, resonance, and articulation - with each chapter containing exercises aimed at applying and teaching these principles. Beyond basic vocal anatomy and singing fundamentals, the handbook also covers such understudied topics as the young voice, the changing voice, and the aging voice, along with helpful chapters for teachers about how to organize vocal lessons and training plans. Thoughtfully and comprehensively crafted by two authors with decades of singing and teaching experience between them, A New Handbook for Singers and Teachers will prove an invaluable resource for singers and teachers at all stages of their vocal and pedagogical careers.

It was in 1970 that Philippe Herreweghe founded Collegium Vocale Gent, dedicated among other things to works by Johann Sebastian Bach and German Baroque music. The ensemble brought new insights on the performance of Baroque music to bear on vocal music, and attained world fame within just a few short years. In 2022, Philippe Herreweghe marks his 75th birthday with a splendid book in which he looks back at his life and his successful career as a conductor. Photographer Stephan Vanfleteren accompanied the ensemble to the Collegium Vocale Crete Senesi summer festival in Tuscany, and has produced a set of masterful images of the ensemble and its conductor. Religiosity plays a central role in his visual interpretation. With text contributions from Joep Stapel and Luc De Voogdt on the life and work of Philippe Herreweghe and the composers who have been his greatest inspiration, plus a personal contribution by Philippe Herreweghe on Bach and death. Text in English and Dutch.

What should we consider when thinking about the relationship between an onstage performance and the story the performance tells? A Poetics of Handel's Operas explores this question by analyzing the narratives of Handel's operas in relation to the rich representational fabric of performance used to convey them. Nathan Link notes that in most storytelling genres, the audience can naturally discern between a story and the way that story is represented: with film, for example, the viewer would recognize that a character hears neither her own voiceover nor the ambient music that accompanies it, whereas in discussions of opera, some audiences may be distracted by the seemingly artificial nature of such conventions as characters singing their dialogue. Link proposes that when engaging with opera, distinguishing between the performance we see and hear on the stage and the story represented offers a meaningful approach to engaging with and interpreting the work. Handel's operas are today the most-performed works in the Baroque opera seria tradition. This genre, with its intricate dramaturgy and esoteric conventions, stands to gain much from an investigation into the relationships between the onstage performance and the story to which that performance directs us. In his analysis, Link offers theoretical studies on opera and narratological theories of literature, drama, and film, providing rich engagement with Handel's work and what it conveys about the relationship between text, story, and performance.

Face to Face with Orchestra and Chorus is a crucial guide for choral conductors who are presented with the daunting task of conducting a full-size orchestra. This book provides a survival kit for both novice and experienced choral conductors, with an overview of the orchestral instruments and their particular needs, tips for rehearsing an orchestra effectively, and guidelines for proper baton technique. Conductors are walked through six case studies from the Baroque and Classical periods, including Handel s Messiah, Bach s Magnificat in D Major, Vivaldi s Gloria, and Beethoven s "Choral" Fantasia."