Choral et Variation Op 31

The fifth variation in Britten's third opus the Corpus Christi Carol finds words in a hymn first found in the early 16th century music was later added by Peter Warlock and then in 1933 by Benjamin Britten.Ithas been arranged by the composer from his Choral Variations and edited by David Willcocks.

A New Spin on an Old Song-From The Westminster Conservatory Youth Chorale Jewish Music Series. A playful variation on a wonderful children's Chanukah song. Dig into the children's game of dreydl (spinning a top marked with Hebrew letters representing thewords 'A Great Miracle Happened There') with your choir!

Part 3 of Choral Variations: Springfield Mountain-Part 3 of Choral Variations: Springfield Mountain.

A fantastic opening or closing selection for your holiday programming this piece incorporates different styles tempos rhythmic challenges and harmonic twists and turns! This charged piano-accompanied choral with an earbending a cappella section will challenge your choir and thrill your audience with a new take on the classic Christmas carol!

Seven variations on an old Ashkenazic folk song for children. Text by L. Kipnis. For SATB choir and solo voice a cappella in Hebrew.

3 Chorale Fantasias, Chorale Variation, 6 Hymn Settings. Par PRAETORIUS MICHAEL. Michael Praetorius (1571-1621) a seulement atteint l'âge de 50 ans, mais a laissé une remarquable richesse des compositions et des traités. D'un point de vue musicologique, il prend une fonction centrale comme médiateur entre la tradition allemande bien établie de la musique d'église protestante et le nouveau monodique, style concertante de composition italienne au début du XVIIe siècle. Après sa formation musicale apparemment self-instructed, il a conclu son premier emploi comme organiste à St. Mary à Francfort/Oder en 1587 et plus tard à la Cour de l'évêque amoureux de la musique de prince Henry Jules de Brunswick-Wolfenbüttel. Après la mort de ce dernier suivi instables et énergie-sapement ans. Musique d'orgue des Praetorius couvre exclusivement cantus firmus : trois fantaisies choral qui fascinent par leur variété de style, une paire de variations avec une technique de figuration riche et les modalités de leur composition novatrice hymn six. Vis-à-vis du style, son oeuvre est enracinée dans le traditionnel allemand org.../ Répertoire / Orgue

Zweyter Theil der Clavier Übung bestehend in einem Concerto nach Italienischen Gusto und einer Ouverture nach Französischer Art, vor ein Clavicÿmbel mit zweÿen Manualen. S.d. (=1735)Einige canonische Veraenderungen über das Weynacht-Lied : Vom Himmel hoch da komm ich her. Vor die Orgel mit 2 Clavieren und dem Pedal. S.d. (=1747)Présentation de Philippe LescatClavier Übung II : Historique de l'édition - Les corrections de BachVariations canoniques : Historique de l'édition - Texte et musique du choral - L'agrémentation de Johann Sebastian Bach. / Clavecin Et Orgue / 72 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Valet je vous donnerai - Vous méchant, faux monde ... Après poème spirituel de Valerius Herberger et basé sur la mélodie du choral par Melchior Teschner le compositeur français Naji Hakim (né en 1955) a écrit un ouvrage émouvant pour choeur et orgue. Le 5 Choralvariationen résultat de la joie céleste dans la voix d'un ensemble gracieux pour orgue seul, puis Hakim conduit à un ensemble pour choeur a cappella et un canon pour soprano et alto avec accompagnement d'orgue. Avec une Toccata en mouvement, qui est complété par un adagio expressive dans le milieu, se terminant le travail expressif. / Choeur Mixte Et Orgue

My Resting Place-Some hallmarks of an excellent choral arrangement are sensitivity to the text “singing” lines for each of the vocal parts and variation in texture. Zuckerman's arrangements are so good they almost sing themselves.The vocal lines are lyrical the texture varied and few are more effective word-painters than Zuckerman. Zuckerman's three arrangements (Di Zun Mayn Rue-Plats and Dolye Mayne Dolye) are the perfect place to startyour choir singing in Yiddish.

Revised edition and Organ accompaniment.The fair copy was completed on 31 May 1933. The first edition included a piano part for rehearsal only. OUP sought an estimate for printing offprints of all theindividual movements in 1933 though only the theme and variations 3-5 were issued separately (see below). However in 1938 230 copies of variation 1 were produced especially for the Cambridge University Music Society. [OUP file251] The work was revised in October 1955 for the performance by the Purcell Singers; [see notes to original Decca recording and BB to OUP 16.07.1957 and date on 1958 edition] the optional organ part (edited by Ralph Downes) wasadded in 1957-58 and replaced the piano part in the score. [It was probably completed in late 1958: see IH to OUP: 13.02.1958 (OUP Archive)]

In the traditional spiritual Let Me Fly the chariot is presented as a symbol of freedom. This creative setting now available for SATB voices offers lots of opportunities for musical growth and expression with its steady marching accompaniment interesting harmonies strophic variation and well-crafted and accessible vocals.

Uses: Ash Wednesday Memorial Graduation WeddingScripture: Ecclesiastes 3One of the most treasured passages from the Bible is found in the book of Ecclesiastes. This profound chapter is set to abeloved folk tune that is then developed to support the various poetic images delivered in the text. Lush expressive harmonies punctuate the tonal landscape with deep beauty while the artful piano writing creates a reflectivecalmness throughout the piece. The minor variation is of particular interest and the hushed ending will leave you breathless.

Uses: General Easter Eastertide Youth Choir Praise Team Scripture: Job 19:25 - Psalm 95:4-6 - Psalm 104:18-20 A contemporary hit based on the immortal words from the book of Job is aptly set as a power folk anthem. The verses are framed by unison and two-part vocal textures while the well-known chorus opens up to include a rich four-part harmonic tapestry. The final crescendo is a regal variation with the piano providing an almost orchestral impact. The vocal lines climb unrelenting to a final fortissimo declaration My Savior Lives!

This title is taken from the compilation French Songs And Choruses For Mixed-Voice Choir (NOV165198) This song declares itself immediately as a variation on the Renaissance and Baroque tradition of the pastoral song with its use of the title 'To Chloris ' (Chloris and Phyllis were the generic names for pastoral shepherdesses and nymphs in Renaissance and Baroque literature) and the ornamentation in the accompaniment the repeated trills and turns also evoke the realm of the Baroque song. However the work is not a mere imitation; it is a modern song one that pays homage to rather than imitates the older models.