SKU: SU.50009520
Clarinet & Piano Duration: 3' Composed: 2004 Published by: Seesaw Music.
SKU: HL.284830
UPC: 888680867492. 5.0x5.0x0.19 inches. Luke 1:26-38.
This lesser-known carol receives special treatment in an artful rendition. Offered with the option of a charming chamber orchestration, the seasonal offering is ideal for community choir concerts or lessons and carols programs. The text presents the angelic visitation to Mary and fills an important liturgical slot for church choir directors. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.
SKU: HL.1418816
UPC: 196288197973. 6.75x10.5x0.019 inches. Luke 1:26-38.
SKU: AP.37912
UPC: 038081423845. English. Words by Lyn Duddy.
Your ladies' angelic voices will sound heavenly on this pop hit single from 1962, originally sung by Shelley Fabares. A winsome, romantic lyric and a fun arrangement especially for your gals.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: HL.48022585
UPC: 884088690083. 6.75x10.5x0.019 inches.
A gentle, lilting waltz for unison choir, treble solo and piano. The angel being addressed is reassured that he/she has done well in her attempt to find the Beloved. Written for the Anima Young Singers, Emily Ellsworth, conductor, this is a wonderful piece for melodic independence for a young choir. From the cantata Living the Divine. Duration: ca.4:00.
SKU: HL.124746
UPC: 884088984175. 5x5 inches.
Sweet Angie, the Christmas Tree Angel, wishes you a very, very, merry, merry Christmas, from the tippy top of the tree! Recorded by the Andrews Sisters, this 1950's classic makes a charming holiday showcase for treble choirs of all ages!
SKU: HL.14043165
9.0x12.0x0.082 inches.
Patrick Hawes' Two Angel Preludes , scored for solo Piano. ' Cherubim : This piano prelude aims to create a sense of weightlessness and tranquillity whilst at the same time having momentum and energy. Like the Seraphim, the Cherubim are ceaseless in prayer, and the repeated note figurations are designed to enhance this image.' ' Seraphim : The triple meter and lilting melody in this piece for solo piano combine to create a sense of quiet joy as the Seraphim perpetually pray to the heavenly Father.' - Patrick Hawes.
SKU: HL.14030951
ISBN 9788759851937. 10.5x14.5x0.423 inches. English.
Work for Guitar. The composer writes: 'The title of this tiny little piece came to me out of my fascination of a picture by the French painter Jean-Francois Millet, entitled L'ANGELUS It features two praying people listening to the evening bells. My Angelus-Bells were later on squeezed into a waltz-like rhythm. The piece was written by request of and is dedicated to David Starobin.'.
SKU: HL.1216624
ISBN 9781705195369. UPC: 196288140467. 9.0x12.0x0.069 inches.
The composer writes: â??I was delighted to be asked by Daniel Hyde and King's College, Cambridge to write this year's commission for the Festival of Nine Lessons and Carols. I have chosen to set a familiar text and tune - Angelus ad Virginem - and for it to serve as a tribute to the late great Simon Preston CBE (chorister and later organ scholar at King's). The text suggests something descriptive and exuberant, and this arrangement makes use of the original 13th century carol throughout. A colorful organ part is designed to propel the music forward, sometimes twisting and distorting the melody in unexpected ways, hopefully reflecting something of Simon's wit, vitality and stylish energy.â? - Matthew Martin.
SKU: HL.14030980
ISBN 9788759871973. 12.0x16.0x0.285 inches.
Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.
