Search Results: MUSIC - Instruction and Study - Voice Books

Boca Raton, Florida: American Media, Inc., 2003. Book. Very Good-. Mass Market Paperback. 1st Printing. Very good - mass market paperback. May be some rubbing or minor shelfwear but overall a nice clean tight copy..

San Francisco, California, U.S.A.: San Francisco, California, U.S.A.: Aunt Lute Books, 1989, 1989. Paperback. VG-. 197pp. Wear extremities, light soiling.. Paperback. VG-.

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."
Te Deum laudamus
Aeterna fac cum sanctis
In te, Domine, speravi

Composed in 1892 as he he was working on his Ninth Symphony, Psalm 150 is Bruckner's final sacred work. The composer had set various psalms over the course of his career before finally turning to the very last of the Book of Psalms, No.150. It is one of the most musical of all, invoking a veritable orchestra of percussion, wind, and string instruments to join the people's voices in praise of God with music and dance.
SATB chorus / Piano ; ISMN: 979-0-800001-38-3

Brahms enriched the genre of chorus and orchestra with two impressive works from the early 1880s: In 1881, he set a text to Schiller's Nänie (four-part chorus and orchestra) and the next year he set Goethe's Gesang der Parzen (six-part chorus and orchestra). Goethe's text explores the concept of fate as it relates to mankind. The text admonishes us to "Fear the Gods! They hold the power In eternal hands And can use it As they please." Brahms' setting portrays the contrast between the capriciousness of the fates and the uncertainty of mortals in a variety of ways. Unabridged digitally enhanced reprint of the composer's own vocal score that was issued by Breitkopf und Härtel in the early 20th century.

SAATBB Chorus / Piano ; ISMN: 979-0-800001-45-1

Brahms started work on his lush setting of Friedrich Hölderlin's poem Hyperions Schicksalslied (Hyperion's Song of Destiny) in 1868 but did not complete it until 1871, being unsatisfied with the ending until he completed his better-known Alto Rhapsody, Op.53. The vocal score offered here is a clean digitally-enhanced reprint of the classic vocal score issued by Breitkopf & Härtel in the early 20th century edited by the eminent musicologist Eusebius Mandyczewski.
SATB Chorus / Piano ; ISMN: 979-0-800001-74-1

Composed around 1779 while still in Salzburg, this youthful setting of the Marian text in C major has been a staple of the choral repertoire for more than a century. This new, digitally-enhanced vocal score is reproduced from the one originally issued by Breitkopf und Hartel, Leipzig, to coincide with the complete works (1876-1905) with a piano reduction by J.G. Scheel.

Brahms enriched the genre of chorus and orchestra with two impressive works from the early 1880s: In 1881, he set a text to Schiller's Nänie (four-part chorus and orchestra) and the next year he set Goethe's Gesang der Parzen (six-part chorus and orchestra). Nänie was composed in memory of Brahms' deceased friend Anselm Feuerbach.

Nänie (Song of Lamentation) is not about simple despair or mere complaint. Even in such dark moments, Schiller's romanticism is expressed as a yearning for the unattainable. The work opens with "Auch das Schone muss sterben!" (Even Beauty must die), and the tension between the veracity of the message and the yearning of the human spirit for the timelessness of temporality and the eternal recurrence of beauty can be sensed in the sheer beauty of Brahm's music. Unabridged digitally enhanced reissue of the composer's own vocal score that was issued by Breitkopf and Hartel in the early 20th century, edited by Brahms' student Eusebius Mandyczewski.

SATB Chorus / Piano ;… Read More

A new, digitally-enhanced reissue of the chorus score first published by G. Schirmer, New York around 1892. Measure numbers have been added, along with rehearsal letters from the definitive 1875 full score edited by Julius Rietz, first issued by Breitkopf und Härtel and subsequently reprinted by Broude, Dover, Lucks. In contrast so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable, is beautifully printed on off-white stock with a quality cover.

For Soprano solo, SATB Chorus and Piano. Composed in 1768 when Mozart was just 12, the Benedictus sit Deus, K.117 remains popular to the present day. This large-format vocal score is designed with a performer's needs in mind. Digitally enhanced reprint from an authoritative early 20th century edition with added measure numbers, contents.
Benedictus
Introibo
Jubilate

Boise, Idaho: Pacific Press Publishing Association, 1996. Cover edges lightly rubbed. 176 pages.. 1st Printing. Soft Cover. Very Good+. 8vo - over 7¾" - 9¾" tall.

Along with the Benedictus, K.117, this short work is among the earliest of Mozart's forays into liturgical music, which would reach their culmination with masterpieces like the Coronation Mass, K. 317 and the unfinished Requiem, K.626. This newly engraved and researched edition by Richard W. Sargeant Jr. has been carefully formatted for maximum usability by choruses.

In a departure from his usual practice of setting traditional melodies, Grainger instead chose to set a traditional text to original music - in an English translation made with his mother Rose - of a Faroe Islands wedding verse originally collected by V. U. Hammershaimb in 1886. The result is a raucous celebration for 9 vocalists, chorus, and orchestra. This new vocal score is a digitally-enhanced reprint of the one originally issued in 1916 by Oliver Ditson.
SSAATTBBB Soli and/or Chorus / Piano

Unlike so many of his symphonies, Bruckner's Te Deum was an unqualified success from the very first. The composer even referred to the piece as "the pride of my life." The vocal score prepared by Bruckner's friend Josef Schalk and first published by C.F. Peters is offered here in a digitally enhanced reissue featuring measure numbers, contents, and instrumentation. Compatible with the widely available public domain orchestral from Luck's, IMSLP, etc.
Te Deum laudamus
Te Ergo quaesumus
Aeterna fac cum sanctis
Salvum fac populum Tuum
In Te, Domine, speravi
SATB Chorus / Piano ; ISMN: 979-0-800001-30-7

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 reissue of the vocal score first published by C. F. Peters in ca.1880 based on the Bach Gesellschft volume which first appeared in 1857.

Sonata
Coro: Der Himmel lacht, die Erde jubilieret
Recitativo: Erwunschter Tag! Sei, Seele, wieder froh (bass)
Aria: Furst des Lebens, starker Streiter (bass)
Recitativo: So stehe denn, du Gott ergebne Seele (tenor)
Aria: Adam muss in uns verwesen (tenor)
Recitativo: Weil denn das Haupt sein Glied, natürlich nach sich zieht (soprano)
Aria: Letzte Stunde, brich herein (soprano)
Chorale: So fahr ich hin zu Jesu Christ

STB soli, SSATB chorus / Piano ; ISMN: 979-0-800001-09-3

This is new, unabridged, digitally enhanced reissue of the classic vocal score for Schubert's youthful masterpiece prepared by Friedrich Spiro and published in 1904 by Breitkopf & Hartel. Composed when Schubert was only seventeen, the Mass in G entered the choral repertoire soon after its first publication in the mid-1800s. It's been a staple of the repertoire ever since.
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

For the Credo in E minor, Vivaldi borrowed some material he composed for his Magnificat, which places it later - probably after 1727. This completely choral work has much in common stylistically with the very famous Gloria (RV 589) and with his earlier psalm setting In exitu Israel (RV 604). Clayton Westermann's 1970 edition, with an English translation beneath the Latin text, is reissued here in a digitally-enhanced, easy-to-read format.
Credo
Et Incarnatus est
Crucifixus
Et Resurrexit

A newly engraved vocal score from the piano reduction prepared by the composer's son-in-law, Josef Suk (1874-1935). Dvorak composed the Te Deum in 1892, which was given its premiere at a delayed Columbus Day quadricentennial concert on Oct. 21, 1892 in New York.

Ricordi, 2004. Book. Very Good. Soft cover. 4to - over 9¾" - 12" tall. 167 pp., includes additional information about the composer, - spine color mostly white w/ small black text - music bin CR.

Da Capo Press, 2004. Book. Very Good. Paperback. Mildly edgeworn. Glossy covers, square spine..