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Consolation : Wer nur den lieben Gott lässt walten

Consolation : Wer nur den lieben Gott lässt walten

Wer nur den lieben Gott lässt walten was composed by Georg Neumark in about 1641 and was subtitled ‘Trostlied’ literally meaning consolation song. Songbooks at the time showed the popularity of this song and it is still well-known today partly due to Johann Sebastian Bach’s use of the melody for one of his own chorals. In Jan de Haan’s arrangement the choral is heard twice, once, alternating with the original motif from the introduction and a second time, without interruption, reflecting the composer’s original intention - a song of consolation.

SEK 1128.00
1

Consolation : Wer nur den lieben Gott lässt walten

Consolation : Wer nur den lieben Gott lässt walten

Wer nur den lieben Gott lässt walten was composed by Georg Neumark in about 1641 and was subtitled ‘Trostlied’ literally meaning consolation song. Songbooks at the time showed the popularity of this song and it is still well-known today partly due to Johann Sebastian Bach’s use of the melody for one of his own chorals. In Jan de Haan’s arrangement the choral is heard twice, once, alternating with the original motif from the introduction and a second time, without interruption, reflecting the composer’s original intention - a song of consolation.

SEK 1128.00
1

Psalm 150 : Halleluja! Lobet den Herrn in seinem Heiligtum - C major - WAB 38

Psalm 150 : Halleluja! Lobet den Herrn in seinem Heiligtum - C major - WAB 38

Bruckner described his setting of Psalm 150 of 1892 as my best festive cantata of all. Psalm 150 has a definite festive character, manifested straight away in the monumental Hallelujah theme for the full forces which opens the cantata, and which punctuates the work and concludes it. Bruckner devotes most of his music to the verse Alles was Odem hat, lobe den Herrn firstly in an exciting section with solo violin and solo soprano, and subsequently in a great fugue on a striking octave theme. All in all, a fascinating combination of filigree motifs, chromatically bold complexities and intensifications, and powerful passages up to triple forte. The chorus is often divided in the homophonic passages, with wide vocal ranges, but the fugue remains in four parts.With a duration of just 9 minutes, this is an ideal companion piece for other shorter works by Bruckner (such as the Te Deum) or, indeed, works by other composers.

SEK 1586.00
1

Under månen (Fra Den unge Fleksnes) : Under the Moon (From The Young Fleksnes)

Under månen (Fra Den unge Fleksnes) : Under the Moon (From The Young Fleksnes)

This has become a Christmas song that has its roots in a love duet between the young Fleksnes and classmate Victoria. The class will be competing with a duet in a song competition. The text gives hope of love and links it to Christmas traditions. "A Dream of Christmas, About Love" is the first line of the text. “The Young Fleksnes” runned as advent calender on TV Norge in 2010. This arrangement feature an flugelhorn soloist and a euphonium soloist. Please be aware of the dynamics between soloists and accompaniment. Adjust the dynamics according to the musicians in the ensemble.

SEK 1239.00
1

Under månen (Fra Den unge Fleksnes) : Under the Moon (From The Young Fleksnes)

Under månen (Fra Den unge Fleksnes) : Under the Moon (From The Young Fleksnes)

This has become a Christmas song that has its roots in a love duet between the young Fleksnes and classmate Victoria. The class will be competing with a duet in a song competition. The text gives hope of love and links it to Christmas traditions. "A Dream of Christmas, About Love" is the first line of the text. “The Young Fleksnes” runned as advent calender on TV Norge in 2010. This arrangement feature an Alto Saxophone player and a euphonium / baritone / trombone player. If you should choose to use the soloist parts from the Brass band version for Flugelhorn and Euphonium, please use both parts, because some of the phrases has been changed. Please be aware of thedynamics between soloists and accompaniment. Adjust the dynamics according to the musicians in the ensemble.

SEK 1358.00
1

Song of Adoration : Fantasy on Lobe den Herren (Praise to the Lord, the Almighty)

Song of Adoration : Fantasy on Lobe den Herren (Praise to the Lord, the Almighty)

The melody Praise to the Lord, the Almighty (heard in Bach’s cantata BWV 137) has its origin in 17th century Germany, and is included in the hymnbook Freylinghausen’s Geistreiches Gesangbuch. This hymnbook originates from the beginning of the 18th century and is considered one of the most significant collections of Lutheran chorales published in Bach’s time.This beautiful new work for concert band is based on the internationally known and loved chorale and will make an ideal serene interlude in any concert.

SEK 1277.00
1