Prelude from Requiem da Camera

Requiem da Camera was the young composer’s first extended work; only the instrumental prelude was performed during Finzi’s lifetime. The piano duet arrangement of the Prelude by Finzi’s friend and collaborator Howard Ferguson forms part of the manuscript vocal score of the Requiem and is dated 1924. Suitable for intermediate standard players.

Requiem da Camera : Organ reduction for use instead of orchestral accompaniment

This organ reduction is intended to use instead of the original orchestral accompaniment; it is compatible with new edition of Requiem da Camera by Christian Alexander (BH 12681). The organ reduction was done by Francis Jackson, doyen of English cathedral organists and titulaire at York Minster for 36 years. Jackson sympathetically recreates the chamber orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particularinstrument, size of choir and acoustic setting at each individual performance.The user-friendly landscape score includes at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full.Requiem da Camera was Finzi’s first extended work; only the instrumental prelude was performed during his lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson. Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havoc and destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

Sonata Da Camera

Requiem da Camera

New edition with completion by Christian Alexander of the young composer’s first extended work; only the instrumental prelude was performed during Finzi’s lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson.Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havocand destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

Da pacem Domine

Requiem da Camera

New edition with completion by Christian Alexander of the young composer’s first extended work; only the instrumental prelude was performed during Finzi’s lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson.Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havocand destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

Sonata Da Chiesa

Paregon Da 'Sinfonia Domestica'

arranged for Two Pianos, Three Hands. Two Copies needed to perform

Baa-da-Black Sheep

This piece employs the familiar melody Ah vous dirai-je mamam, and is based on the nursery rhyme about wool and taxes where a man harvests a third of his income (wool) for his master, another for his wife, and the third for himself (the little boy who lives down the lane). Set in a jazzy rhythmic style with a bit of scat singing interspersed with the melody, this setting offers a young chorus a playful approach to a familiar tale and tune.

Tres Sacrae cantiones

Contents: Da pacem Domine · Assumpta est Maria · Illumina nos.

Sinfonia Da Requiem Op20 HPS38

Different Trains : Partitura Da Studio

HPS 1168

Orchestral Anthology Volume 2

Contents: Four Sea Interludes (Peter Grimes) · Passacaglia (Peter Grimes) · Sinfonia da Requiem · Variations on a Theme of Frank Bridge.

Francesca Da Rimini : Oper in 2 Akten

Libretto by Modest Tchaikovsky, after Dante. German translation by Lina Esbeer.

3 Chinese Songs

Contents: Lan Hua Hua (Blue Flower) · Da Mai Hao Zi (Threshing Wheat Song) · Yang Guan San Dei (Song of the Tang Dynasty).

Choralvariationen : Vom Himmel hoch da komm' ich her (J.S.Bach)

Study Score - Hawkes Pocket Score 695. Strawinsky, I

Francesca da Rimini op. 25 : Oper in 2 Akten

Libretto by Modest Tchaikovsky, after Dante. German translation by Lina Esbeer.

Da Pacem Domine : Grant us peace, O Lord, in this our day

This canon at the fourth has the simplest melodic material, which when combined in two and four voices achieves an interesting and contrapuntal effect. It can provide students an easy entrance into the flavor of the simplefour-part music which sounds much more complex than it is.

Tom Bowling & Other Song Arrangements

Contents: Voice and Piano: Tom Bowling · The Crocodile · Dink's Song · Greensleeves · The Holly and the Ivy · I Wonder as I Wander · Pray Goody. Two Voices and Piano: The Deaf Woman's Courtship · Soldier, Won't You Marry Me?Voice, cello and piano: The Stream in the Valley (Da unten im Tale).

Don Giovanni - Vocal Opera Score : Opera in two Acts

The Marriage of Figaro, Don Giovanni and The Magic Flute are three of the most loved and performed operas by Wolfgang Amadeus Mozart, set to libretti by Lorenzo da Ponte and Emanuel Schikaneder. Unavailable for many years, these three vocal scores with piano reductions in ‘The Royal Edition of Operas’ series from Boosey & Hawkes feature singing translations in English by Edward J Dent alongside the original sung text and prefatory notes.

Art Thou Troubled? : 'Dove sei' from Rodelinda

This arrangement of Bertarido's aria from the opera Rodelinda (1725) by George Frideric Handel, may be sung in either English or Italian. The English, however, is not a translation of the original Italian by Nicola Haym, but an entirely different poem by W. G. Rothery, written in 1910. It was made famous by the British contralto, Kathleen Ferrier.In the opera, the aria is sung entirely by the soloist. Here I have given the da capo portion to a chorus. The piano part is a reduction of the orchestral strings and may be performed with such.- Wayland Rogers –

Adiemus - Songs Of Sanctuary

The music from the million-selling album, featured on the Delta Air Lines TV commercial. Adiemus combines classical and ethnic influences to create a haunting, tribal sound.Songs of Sanctuary is an extended choral-type work based on the European classical tradition, but where the vocal sound is more akin to ethnic or world music. The idea was to have some thematic unity within the work as a whole, rather than a collection of disparate pieces in song form. The structures of Songs of Sanctuary are influenced, in the main, by classical form, e. g. modified rondo, ternary, da capo aria. This is of extra importance because of the lack of lyric message that sustains conventional songform. The text was written phonetically with the words viewed as instrumental sound, the idea being to maximise the melisma (an expressive vocal phrase) by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music.

Adiemus (theme) : Theme from Songs of Sanctuary

The music from the million-selling album, featured on the Delta Air Lines TV commercial. Adiemus combines classical and ethnic influences to create a haunting, tribal sound.Songs of Sanctuary is an extended choral-type work based on the European classical tradition, but where the vocal sound is more akin to ethnic or world music. The idea was to have some thematic unity within the work as a whole, rather than a collection of disparate pieces in song form. The structures of Songs of Sanctuary are influenced, in the main, by classical form, e. g. modified rondo, ternary, da capo aria. This is of extra importance because of the lack of lyric message that sustains conventional songform. The text was written phonetically with the words viewed as instrumental sound, the idea being to maximise the melisma (an expressive vocal phrase) by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music.

Adiemus Songs of Sanctuary

The music from the million-selling album, featured on the Delta Air Lines TV commercial. Adiemus combines classical and ethnic influences to create a haunting, tribal sound.Songs of Sanctuary is an extended choral-type work based on the European classical tradition, but where the vocal sound is more akin to ethnic or world music. The idea was to have some thematic unity within the work as a whole, rather than a collection of disparate pieces in song form. The structures of Songs of Sanctuary are influenced, in the main, by classical form, e. g. modified rondo, ternary, da capo aria. This is of extra importance because of the lack of lyric message that sustains conventional songform. The text was written phonetically with the words viewed as instrumental sound, the idea being to maximise the melisma (an expressive vocal phrase) by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music.