CLOSTRE COMBAT AVEC L'ANGE (LE) TROMPETTE ET ORGUE

CLOSTRE COMBAT AVEC L'ANGE (LE) TROMPETTE ET ORGUE

Guards of Honour

Guards of Honour

Combat D'aurore, Kopi

Koppel Divertimento Brss Quintet F/S

Divertimento For Brass Quintet was composed by Anders Koppel in 2004.Commissioned by the Brass Ensemble of the Royal Danish Life Guards.

Olivier Messiaen: Les Corps glorieux Vol.2 (Organ)

4.Combat de la Mort et de la Vie

Epic March

This transcription for concert band was completed in 1988 at the request of Lowell E. Graham, the conductor of the Air Combat Command Heritage of America Band, stationed at Langley Air Force Base, Virginia.

Pierre Cholley: Trois Pièces sur DSCH - pour Grand-Orgue

A la demande de l’organiste Olivier Vernet, Pierre Cholley a composé trois danses sur la signature musicale de Chostakovitch, qui renvoie à son nom, D.S.C.H, soit ré-mi bémol-do-si. Le critique Michel Roubinet évoque, pour ces œuvres, toute la fureur d’un combat à la vie, à la mort.

W. Ross's Collection Of Highland Bagpipe Music Book 3

William Ross (1878-1966) joined the Scots Guards as a Piper in 1896 and served in both the Boer war and the Great war, before becoming an instructor at the Army School of Piping. His Collection Of Highland Bagpipe Music - Book 3 was one of 5 compilations of Bagpipe tunes, and includes over 40 Marches, Reels, Jigs, and Airs. With over 50 years of teaching and competing, Ross is often said to be the most influential Piper of the century. This expansive volume certainly helps to cement that title!

Hallgrimsson: Poemi For Violin And String Orchestra (Full Score)

Poemi is based on three allegorical paintings by Marc Chagall, each of which is a masterly depiction of a well-known text the Old Testament: The Dream of Jacob, The Sacrifice of Isaac and Jacob in Combat with the Angel. Hallgrimsson's intention in writing the work was to compose a virtuoso piece for violin and string orchestra, which would recreate in music the poetic essence of Chagall?s paintings.The soloist is at the centre of the ?musical stage? throughout, with the orchestra providing a constantly changing ?scenery?. The music progresses from the tranquillity of the Dream in the first movement, through the drama of the Sacrifice in the second, to the fast and tense Combat with the Angel which forms the final movement.'Poemi' was awarded the Nordic Council Prize in March 1986.

The Guitarist's Guide to Fingernails

Presented in this informative text is a concise, clear picture of the fingernail, its anatomy, what affects its health, how to combat weak nail problems, how to obtain strong, healthy nails and what products to buy. Included is an analysis of all currently available artificial nail systems (acrylics, wraps, gels and glue on tips) with a discussion of the potential health risks involved. The Guitarist?s Guide to Fingernails also introduces a revolutionary new artificial nail system that is nontoxic, removable yet effective, with no risks to the health of your natural fingernail. An absolute must for guitarist?s of all kinds!

Volume 34: Works for Chorus : Full Score

SATB unaccompanied unless otherwise noted. Contents: As I Was a Young Girl • The Black Sea • Cuckoo • Dark Nights Lowering Clouds • Glory to Our Soviet Motherland • Great Day Has Come • I ToldMy Dear Friend • In My Father's Garden • Loyalty (TTBB) • March of Peace Champions • Novorossiisk Chimes (TTBB/Piano) • O Fir Grove • The October Dawn • Our Motherland Hears (with Soloist) •Our Song (Bass solo/Chorus/Piano) • Out of the Thicket of Spears • The People's Lament (King Lear) • Song from Volochayevka Days • Song from Zoya • Song of Guards Division • Splinter • ThereBeyond the Mountains • 3 Songs from Meeting on the Elbe • Thunder Suddenly Crashed • A Toast to Our Motherland • 2 Songs from Unity • Vocalise from Friends • We Cherish October Dawns in Our Hearts• We Sing Glory to Our Country • What Songs • Winds Were Blowing • 10 Poems • 2 Songs from the Counterplan • 2 Songs from the Fall of Berlin • 2 Songs from the First Echelon • 4 Chorusesfrom Belinsky. From The Collected Works of Dmitri Shostakovich, published by Mezhdunarodnaya Kniga, Moscow, Russia. Hard-cover bound and includes editorial notes (Russian/English) and background information.

The New Imperial Edition : Bass Songs

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly, the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical, not personal. Each song is briefly annotated and, except where indicated, appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions, the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and, lastly, to offer to all singers, whether amateur or professional, a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If, in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.

The New Imperial Edition : Contralto Songs

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly, the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical, not personal. Each song is briefly annotated and, except where indicated, appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions, the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and, lastly, to offer to all singers, whether amateur or professional, a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If, in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.

New Imperial Edition : Soprano Songs

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly, the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical, not personal. Each song is briefly annotated and, except where indicated, appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions, the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and, lastly, to offer to all singers, whether amateur or professional, a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If, in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.

The New Imperial Edition : Baritone Songs

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly, the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical, not personal. Each song is briefly annotated and, except where indicated, appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions, the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and, lastly, to offer to all singers, whether amateur or professional, a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If, in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.

The New Imperial Edition : Tenor Songs

The New Imperial Edition of Solo Songs has been designed as a chronological anthology of song from the Lutenists down to the present day. As other albums will be devoted exclusively to operatic and oratorio arias these are generally omitted from the present volumes.Manifestly, the selection must be indicative rather than comprehensive or merely exclusive and is essentially practical, not personal. Each song is briefly annotated and, except where indicated, appears in the original key or is set for the voice which it is normally associated.Apart from obvious restrictions, the choice has been largely determined by certain positive needs. To provide the singing teacher andstudent alike with a working catalogue as a basis for more specialized research into the varied treasure of the literature of song; to give the festival committees and examination bodies a ready way of governing without unduly restricting the dangerous freedom of choice classes; to present the would-be accompanist with a convenient means of studying the many-sided aspects of the exacting technique; and, lastly, to offer to all singers, whether amateur or professional, a practical and logical conspectus of the diversities of lyrical song over a period of some three hundred years. If, in addition these books will do something to combat the present-day weakness for vocal exhibitionism or narrow eclecticism the labour of their preparation will be doubly justified.The edition is part of the ABRSM syllabus (grade 6,7,8)

Witold Lutoslawski: Trois Poemes D'henri Michaux (Score)

Trois poèmes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb, conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choir and an orchestra similar to that of the Symphony of Psalms, though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first, and only then did he choose the three poems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat, with its onomatopoeic invented words, dates form the 1920s; the other two texts, which are more philosophic than pictorial, form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will be more useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony, which brass sforzandi punctuate with increasing frequency, frames the beginning and end of Pensées. After the choir?s first unaccompanied passage, the woodwind have a staccato section over which the female voices, singing downward glissandi, are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in a lapping ostinato which illustrates the text of the next forte choir entry ?Pensées à la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of a gamelan-like ensemble of vibraphone, céleste, harp and pianos.

Claudio Monteverdi: Madrigals Book VIII - Madrigali Guerrieri Et Amorosi

Here are all of the madrigals from one of the Baroque master's most popular books, reprinted from an authoritative Italian edition. They feature modern notation with text underlay, commentaries, new Preface, new English translations of the original prefatory material, and Italian texts in verse format facing new English line-for-line literal translations.Reprint of Tomo IV and Tomo V of Tutte le opere di Claudio Monteverdi, published "nel Vittoriale degli Italiani," 1927.Table of Contents for Madrigals, Book VIII: Madrigali Guerrieri et AmorosiPrefaceOriginal title page and translationOriginal dedication and translation"Original foreword ("Claudio Monteverde to the Reader") and translation"Translations of the Introductory Texts to the Dramatic PiecesVocal Texts and Translations"CANTI GUERRIERI [SONGS OF WAR] Sinfonia (for two violins and a viola da braccio, to precede No. I)"I. "Altri canti d'Amor, tenero arciero" (for six voices with four viols and two violins)"2a. "Hor che 'l ciel e la terra e 'l vento tace" (for six voices with two violins)"b. "Così sol d'una chiara fonte viva" [same voices and instruments]"3a. "Gira il nemico insidïoso Amore" (for three voices: alto, tenor, and bass) [same voices throughout No. 3]"b. "Nol lasciamo accostar, ch'egli non saglia"c. "Armi false non son, ch'ei s'avvicina"d. "Vuol degl'occhi attaccar il baloardo"e. "Non è più tempo, ohimè, ch'egli ad un tratto"f. "Cor mio, non val fuggir, sei morto e servo"4. "Se vittorie sì belle" (for two tenors) [later also included by the printer Vincenti in the posthumous Monteverdi compilation Book IX, 1651]"5. "Armato il cor d'adamantina fede" (for two tenors) [previously included in Monteverdi's 1632 volume Scherzi musicali and later also included in Book IX]"6a. "Ogni amante è guerrier: nel suo gran regno" (for two tenors)"b. "Io che nell'otio nacqui e d'otio vissi" (bass solo)"c. "Ma per quell'ampio Egeo spieghi le vele" (tenor solo) "d. "Riedi, ch'al nostro ardor, al nostro canto" (for three voices: two tenors and bass)"7. "Ardo, avvampo, mi struggo, ardo: accorrete" (for eight voices with two violins)"8. "Combattimento di Tancredi e Clorinda [Combat of Tancredi and Clorinda; for soprano, two tenors, basso continuo, plus two violins and viola da braccioq. Originally, "four viole da braccio,"]"9a. "Introduzione al ballo [Introduction to the Ballet]: "Volgendo il ciel per l'immortal sentiero" [for tenor and two violins]"b. "Ballo [Ballet]: "Movete al mio bel suon le piante snelle" (for five voices with two violins)"CANTI AMOROSI [SONGS OF LOVE]10a. "Altri canti di Marte e di sua schiera" (for six voices and two violins)"b. "Due belli occhi fur l'armi onde traffittta" [same voices and instruments]"11. "Vago augelletto che cantando vai" (for six and [afterward] seven voices with two violins and a contrabass)"12. "Mentre vaga angioletta" (for two tenors)"13. "Ardo e scoprir, ahi lasso, io non ardisco" (for two tenors) [later also included in Book IX]"14. "O sia tranquillo il mare o pien d'orgoglio" (for two tenors) [later also included in Book IX]"15a. "Ninfa che, scalza il piede e sciolto il crine" (tenor solo)"b. "Qui deh meco t'arresta, ove di fiori" (for two tenors)"c. "Dell'usate mie corde al suon potrai" (for three voices: two