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Don't Go : from Ecstatic Songs

Don't Go : from Ecstatic Songs

“Don't Go” is the second in the cycle of “Ecstatic Songs” on texts by Hindu mystic poet Mirabai. The first song, “All I Was Doing Was Breathing” was premiered by the Michigan State University Women's Chamber Ensemble at the 2009 ACDA Convention and became the “talk of the convention” for its creativity and impact. In this 2nd poem, Mira's words are ones of intensity, passion, conviction and devotion. The soloist in this piece embodies the voice of Mira and the chorus reflects on her strength and passion.

SEK 70.00
1

Kusimama (Stand Tall) : For Two-Part Treble Chorus, Percussion and Piano

Kusimama (Stand Tall) : For Two-Part Treble Chorus, Percussion and Piano

“Kusimama” is written in the world music style that is accessible for choirs, both young and old, who are just beginning to be exposed to world rhythms and language, a sort of introduction to new languages, syllables, body percussion and style. The text which is in both Swahili and English, is about standing tall on the earth, not with anger or aggression, but with hope, strength, acceptance, and positivity. The voices along with hand claps, stomps, djembe, shaker and piano all combine for an exciting world music presentation.

SEK 70.00
1

Kusimama : (Stand Tall)

Kusimama : (Stand Tall)

“Kusimama” is written in the World music style that is accessible for choirs, both young and old, who are just beginning to be exposed to world rhythms and language, a sort of introduction to new languages, syllables, body percussion and style. The text which is in both Swahili and English, is about standing tall on the earth, not with anger or aggression, but with hope, strength, acceptance, and positivity. The voices along with hand claps, stomps, djembe, shaker and piano all combine for an exciting World music presentation.

SEK 64.00
1

Kusimama : (Stand Tall)

Kusimama : (Stand Tall)

“Kusimama” is written in the world music style that is accessible for choirs, both young and old, who are just beginning to be exposed to world rhythms and language, a sort of introduction to new languages, syllables, body percussion and style. The text which is in both Swahili and English, is about standing tall on the earth, not with anger or aggression, but with hope, strength, acceptance, and positivity. The voices along with hand claps, stomps, djembe, shaker and piano all combine for an exciting world music presentation.

SEK 72.00
1

A Finnish Rhapsody : Quarter Military Band QMB 481

A Finnish Rhapsody : Quarter Military Band QMB 481

The opening measured of Clare Grundman's A Finnish Rhapsody are base on Oi kallis Suomenmaa (O Blessed Fatherland), an old South Bothnian melody beloved of the whole Finnish nation. The words of this song epitomize each Finn'snoblest duty, the readiness to sacrifice all in defense of his country's liberty. Next is an episode based on Kesäilta (Summer Evening), one of the loveliest of Finnish folk songs, being as delightfully tranquil as the Finnishcountryside. Following this is a section based on the lively folk tune, Talon Tyttö (The Country Lass), a mirthful love song about a peasant maid and her swain. This leads into the majestic Finlandia Hymn, created by Jan Sibelius.The work closes with the return of Oh, Blessed Fatherland, with all its strength and grandeur. (5:30)

SEK 1035.00
1

We Will Sing! : Choral Music Experience for Classroom Choirs

We Will Sing! : Choral Music Experience for Classroom Choirs

The complete resource for training young choirs. Provides everything you need: the basics of how to produce a good singing tone, basic music theory, reading and ear training, vocal exercises, 18 songs, rehearsal guides, evaluation questions and assessment materials. Songs (for unison and 2 pt treble voices) in a variety of styles including folk, classical and jazz. Handy pupils' song books available in economy packs; ideal for concert performance. Cassettes and CDs provide demonstrations and keyboard accompaniments to all the songs. Helps meet curriculum requirements including performing, listening and appraising. For 9 year olds and above; can be used by generalist and specialistmusic teachers. Written by internationally acclaimed music educationalist and choral trainer Doreen Rao. Offers an insightful, practical approach to classroom music. Helps instill a life-long love of music in your students while giving them a solid foundation in musical understanding and singing skill. The 18 choral arrangements in the book are also available in three separate 'Performance Program' books, making them easy to use in concert as well as in the classroom. Program 1: O Music, Sweet Music-Mason/Rao; The Sally Gardens-arr. Britten; Simple Gifts-arr. Copland; She's Like The Swallow-arr. Dolloff; A Spring Morning-Carey/Rao; Good Night-Kabalevsky. Program 2: Jubilate Deo-Praetorius/Rao; The Path To The Moon-Thiman; I Know Where I'm Goin'-arr. Hughes; Oliver Cromwell-arr. Britten; Bist Du Bei Mir-Bach; Ching-A-Ring Chaw-arr. Copland. Program 3: Hodie from 'A Ceremony Of Carols'-Britten; A Child Is Born-Anon.; Poor Little Children-Spiritual; How Beautiful Are The Feet Of Them from 'Messiah'-Handel; In Dulci Jubilo-Bach and Jingle Bell Swing-arr. Elliott.

SEK 493.00
1

A Hymn Of St Columba : Regis regum rectissimi

A Hymn Of St Columba : Regis regum rectissimi

Text: attributed to St. Columba (in Latin) Publisher: Boosey & Hawkes Difficulty level: 2 This short work was commissioned for the 1400th anniversary of the voyage Columba made from Ireland to the island of Iona. Rather bizarrely,the first performance was given outdoors at Churchill, Co. Donegal where St. Columba was said to have preached and was apparently inaudible because of the strength of the wind! The anthem is wonderfully effective and is a verygood example of Britten s ability to create an original canvas within the traditions of the Anglican Church. The piece is all about the fire in Columbas belly for his missionary task. The words are almost a variation on the DiesIrae: 'King of Kings and Lord most high, his day of judgement comes near, Day of wrath and vengeance, Day of shadows and dark clouds...' etc. Britten brilliantly sets the mood with a disturbing pedal ostinato which keeps returningthroughout the piece sometimes in the manuals and often in the pedals. The broad unison melody which begins the anthem returns at the end briefly as a canon between sopranos/tenors and altos/basses before closing, without slowingdown, with two almost menacing, but ever-quietening repetitions of the word 'domini'. Don't let the brevity of this work put you off from programming it. In fact, Britten wrote four 'Hymns' (Virgin/St. Peter/St. Columba/St.Cecilia) which work very well together in a concert and around which an imaginative programme can be built. Its brevity also makes it either suitable as an introit for a service Mixed Voices with keyboard commemorating Columba, orperhaps, at All Souls or even Remembrance. It would serve equally as an anthem. In performance it is Britten's direction that it should be sung 'with fire' which should underpin the interpretation. As always, making the most ofdynamic variation will give the work some of its colour. The wonderful moment when, after a diminuendo, the first theme returns pianissimo and with a crescendo (...maeroris ac tristitiae, Regis regum rectissimi,) where the words'King of Kings' are uttered with hushed awe needs special care and thought about tone quality. Duration: 3 minutes Paul Spicer, Lichfield, 2011

SEK 144.00
1