Hill-side Carol

for SATB and piano or organ, with optional flute or treble recorder, or chamber orchestra This is a moving and very original work, ideal for a carol service or concert. The addition of the flute (or treble recorder) adds a delicate pastoral flavour.

Which Side Are You On? : 20th Century American History in 100 Protest Songs (Paperback)

Which Side Are You On? : 20th Century American History in 100 Protest Songs (Hardback)

The Spacious Firmament 2 : Yet we who neither burn nor shine

The Spacious Firmament 2: Yet we who neither burn nor shine is a sequel to The Spacious Firmament. Both pieces may be performed separately, but The Spacious Firmament should always come first if they are programmed together(perhaps either side of an interval).

Violin Globetrotters

Violin Globetrotters brings together 12 toe-tapping tunes in this fabulous collection. Ideal for violinists looking to go travellin', the book introduces a kaleidoscope of musical styles from every side of the globe, including Chinese pentatonic music, West-African drumming, the Argentinian tango, and the Irish jig.

Concert Piece For Tuba And Piano

This excellent addition to the tuba repertoire allows this oft-neglected instrument to demonstrate its more versatile side. Concert Piece explores a 3-octave range, allowing the tuba to combine fast-paced passages (evenincluding fierce glissandi) with lyrical contemplative melodies before returning to the exuberant tone of the opening.

Bach's Oratorios : The Parallel German-English Texts with Annotations

The major choral works by Johann Sebastian Bach-the Christmas, Easter, and Ascension Oratorios, and the St. Matthew, St. Mark, and St. John Passions-stand as the most frequently-performed and penetratingly discussed of thegenre. Renowned Bach scholar Michael Marissen has assembled a compact, well-designed and ideally useful treatment of Bach's oratorios, providing the full German texts with literal English translations and copious annotations. Heprovides strict literal translations of these texts, with citations from the Luther Bible as it was known in Bach's day, along side extensive footnotes that provide information addressing the interests and concerns of today'sBachcommunity. These are the first translations of the librettos from Bach's oratorios to accommodate the many sense-clarifying allusions to the readings of the Luther Bibles in Bach's day, to explore from historicaldictionaries the meanings of previously unnoticed archaic usages, and to contrast relevant findings from modern biblical scholarship. Marissen's insights are particularly helpful, his thoroughness is impressive, and the book willbe a longstanding, definitive, and essential reference for choral directors, performers, audience members, and Bach scholars alike.