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Books > Music > Other types of music > Vocal music
This new vocal score is a digitally restored reprint of the one first issued in the early 20th century by G. Schirmer, New York, with Henry Sandwith Drinker's classic English translation beneath the original German text. The keyboard reduction by Bernhard Todt is a classic in its own right, based upon the renowned Bach Gesellschaft Ausgabe.
Composed in memory of a favorite teacher, Father J. Zimmermann, Gounod's first large scale mass was an immediate success in the wake of its Paris world premiere on November 22, 1855 at the glise de Saint Eustache. The composer went on to popularize the work in London, which resulted in the present vocal score arranged by Sir Joseph Barnby. The Barnby score is presented here in a reprint of the score issued by G. Schirmer in the 1890s, with added measure numbers, a rehearsal system to match the widely available orchestra parts from E. F. Kalmus, and a very readable A4 size.
Mozart's requiem was only partially finished at his untimely death in December 1791. His widow Constanza turned to Mozart's students to complete the work which had been commissioned by Count Walsegg in honor of his late wife. Joseph Eybler made the first attempt but returned the manuscript a short time later - still unfinished. Franz Xaver Sussmayr, another student completed the work in 1792. The work was first performed on January 2, 1793 in Vienna in Sussmayr's version, which remains the most widely performed and recorded completion despite disputes over the extent of Sussmayr's contribution.This new vocal score is a high-quality digitally enhanced, corrected reprint of the one prepared by Friedrich Brissler around 1880. It is the most widely known vocal piano reduction in use today.
Though it was composed in 1852, the Requiem wasn't published until a decade after the composer's death in 1856. This newly engraved vocal score is based upon the one prepared by Schumann himself that was first issued in conjunction with the Schumann complete works in the 1880s, supervised by his widow Clara and good friend Johannes Brahms. Includes contents page with instrumentation, measure numbers, rehearsal system.
Composed for an Easter Sunday performance in 1715 during Bach's
tenure as court composer at Weimar, this cantata has long been a
favorite among the more than 250 he wrote. Unabridged
electronically enhanced reprint of the vocal score first issued by
C. F. Peters in ca. 1880.
Schubert's twelve movement work is a setting of a German paraphrase of the Latin sequence by F.G. Klopstock (1724-1803). It contains some of his finest choral writing. Unabridged digitally enhanced reprint of a vocal score prepared by Georg Gohler first issued in 1910 by Breitkopf & Hartel, Leipzig. Now with measure numbers and a very readable large A4 format.
This is a new, digitally enhanced reprint of the vocal score originally issued by Breitkopf & Hrtel, Leipzig ca. 1910 to compliment the Bach Gesellschaft edition of the complete works. Composed in 1731 during Bach's tenure as kantor of the Thomaskirche in Leipzig, this longtime favorite of the cantatas had its premiere on November 25th of that year.
Premiered in 1867, Romeo et Juliette was composed to a libretto by Jules Barbier and Michel Carre based upon the Shaespeare play. Apart from Faust, it stands as Gounod's most popular opera. This chorus score, with the standard piano reduction by Hector Salomon, is a digitally-enhanced reprint of the choral movements from the vocal score issued by G. Schirmer, Inc. in 1897 with an English translation by Dr. Theodore Baker beneath the original French.Contents: Overture et Prologue1. The Capulets' Ball1b. Scene2b. Recitative et Scene5. Finale, Act I6. Entracte et Chorus8. Scene et Chorus13. Finale, Act III18. Epithalamium19. Finale, Act IV
This is a new, digitally-enhanved reprint of the classic edition of Roger-Ducasse's vocal score of Faure's final version, first issued in 1900 by Huegel.
A new, digitally-enhanced reissue of the classic vocal score for Alois Schmitt's reconstruction of Mozart's incomplete masterpiece. Includes preface, contents, instrumentation, measure numbers. Fully compatible with the parts from Breitkopf, Kalmus, Lucks or even the free download from the Petrucci Music Library. Originally planned for a celebration of his wedding to Constanze Weber, Mozart performed the several completed sections on Oct. 26, 1783 in Salzburg - filling in with movements from earlier liturgical works. Later, the composer used several sections of this music in his 1785 oratorio "Davidde Penitente" with new words. Inspired by Sssmayr's completion of the "Requiem," Schmitt filled in missing sections with movements from earlier masses and fleshed out the orchestration from Mozart's sketches where needed. His reconstruction was given its premiere in 1901 and promptly entered the choral repertoire.
This guide presents a detailed discussion of various aspects of historical performance practice, especially as they relate to liturgical polyphony of the Renaissance. The author considers such issues as timbre, tempo, and rhythm, the makeup of the ensemble, articulation, ornamentation, pitch and tuning, and interpretive goals issues in which pre-modern choral technique and modern practice have often distinctively diverged. Musicological and performance perspectives are both drawn upon to address these issues in a manner that is both documentary as well as practical. This study will be of interest to musicians who specialize in early music, but it is also particularly addressed to conductors and singers who come to early music from the mainstream and perform it in that context. Mainstream choral conductors faced with the need to develop expression in multiple styles across a broad repertory will come to find the interpretation of historical style a congenial ally.
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."
"This book comes from a very fine music educator with exceptional experience, who has common sense and a real understanding of what a beginning teacher should know. The book puts into print issues that are widely discussed at conventions and at conferences, and that are common knowledge for the experienced teacher, but that are not covered in a music education class. It is a plain and simple book, written in a language that is easy for anyone going into the profession to understand. It makes valuable suggestions in just about every aspect of the role of a choral music teacher." Michael Schwartzkopf, Professor of Music Education, Indiana University School of Music"
Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In "Handel as Orpheus," the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty. The cantatas were written between 1706 and 1723--from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace--a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext. Addressing questions about style and form, dating, the relation of music to text, rhythmic and tonal devices, and voicing, "Handel as Orpheus" is an invaluable resource for the study and enjoyment of the cantatas, which have too long been neglected. This innovative study brings greater understanding of Handel, especially his development as a composer, and new insight into the role of sexuality in artistic expression.
On the 250th anniversary of the composer's death, this volume offers an in-depth look at the "Great Eighteen" organ chorales, among the most celebrated works for organ, and a milestone in the history of the chorale. Addressed to organists, scholars, and general listeners alike, this lucid and engaging book examines the music from a wide spectrum of historical and analytical perspectives.
Stinson examines the models used by Bach in conceiving the original pieces, his subsequent compilation of these works into a collection, and his compositional process as preserved by the autograph manuscript. Himself an accomplished organist, Stinson also considers various issues of performance practice and concludes with a discussion of the music's reception--its dissemination in manuscript and printed form, its performance history, and its influence on later composers. Completely up-to-date and presenting a wealth of new material, much of it translated into English for the first time, this study will open up fresh perspectives on some of the composer's greatest creations.
Designed for both the practicing choral director and the choral methods student, this is the only book that offers such a wealth of information on choral sight-singing under one cover. Topics covered include the history of sight-singing pedagogy and research, a detailed survey of prominent methods and materials, and a host of practical strategies for teaching and assessment. Demorest's comprehensive and practical guide takes the mystery out of teaching music reading and should be a part of every choral conductor's library.
From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.
The Supplement continues the tradition of the Catalogue in that it is designed as an aid for the church musician and or pastor seeking to plan unified worship services. It will also be of use to those church musicians who follow the Liturgical Calender and plan music appropriate to the appointed lessons, as well as a source for non-church choir directors who would like to locate choral settings based on a particular passage from Scripture. The Supplement emphasizes music published since 1995, or titles that were overlooked in the previous editions. Entries are arranged from Genesis through Revelation. Each main entry citation provides the biblical reference (book, chapter, and verse), as well as a reference to additional passages from Scripture used in the anthem. The composer, arranger, or editor and the title are listed as they appear on the octavo. Information on voicing, solos, and instrumental accompaniment is noted; the name of the publisher, the most recent date of publication and the octavo number appear at the end of each citation, where information on instrumental parts, other versions of the same title, and collections where the work might appear are also listed. Composer and title indexes round off the work.
In lucid and engaging style, Stinson explores Bach's 'Great Eighteen' Organ Chorales - among Bach's most celebrated works for organ - from a wide range of historical and analytical perspectives, including the models used by Bach in conceiving the individual pieces, his subsequent compilation of these works into a collection, and his compositional process as preserved by the autograph manuscript. Stinson also considers various issues of performance practice, and provides the first comprehensive examination of the music's reception, its dissemination in manuscript and printed form, and its influence on such composers as Mendelssohn, Schumann, and Brahms.
Designed for both the practicing choral director and the choral methods student, this is a compact and comprehensive overview of the many teaching methods, strategies, materials, and assessments available for choral sight-singing instruction. Sight-singing is an important, if sometimes neglected, facet of choral music education that often inspires fear and uncertainty in student and teacher alike. Written in an accessible style, this book takes the mystery out of teaching music reading. Topics covered include the history of sight-singing pedagogy and research, prominent methods and materials, and practical strategies for teaching and assessment. This is the only book to provide such a wealth of information under one cover and will become an essential part of every choral conductor's library.
This book (published in German by Bärenreiter in 1988 and now available in English translation for the first time) is a comprehensive guide to the genesis, transmission, structure, meaning, and performance considerations of Bach's St John Passion. One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel. The musical design of the choruses with their numerous interrelationships is quite unique and demands some explanation. The fact that the Passion exists in four different versions leads Dürr to ask which changes were intentional and which were the result of practical constraints or of orders issued by church authorities.
This is the third volume in an on-going series of books surveying the choral-orchestral repertoire. In this study, Green reviews Bach's entire oeuvre, including the more than two hundred works that are rarely performed and therefore rarely discussed. All Bach's works from BWV1 to BWV249 are analyzed, making this volume one of the most useful handbooks on this repertoire. Green reviews each work in great detail, providing information such as an instrumentation list, performance times, publishers, availability of materials, manuscript location (when possible), the hand of the copyist(s), text sources, a discography, and bibliographies specific to each composition. Most importantly, for each work there is a detailed description of the performance issues within the score. This includes evaluations of each solo vocal role, an evaluation of the choral and orchestral parts, along with an estimation of their respective difficulties. There are a number of indexes that provide brief biographical or historical information about each text source indexed back to the works themselves. There is also an index of works by type, vocal solos, choral voicing, instrumentation, liturgical calendar, performance chronology, title, and chorale usage. |
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