Another Day of Sun (SATB choir) From La La Land

John Tavener's Coplas composed in 1970 for unaccompanied SATB Choir.'Coplas is a short anthem for voices and tape. It belongs to a much larger work called 'Last Rites' which I have beenthinking about for about a year. It is based on the mystical idea of St. John of the Cross which obsesses me - 'the more I live the more I must die.' Hence the deliberately static nature of Coplas.In once sense Coplas is aprolonged decoration of the 'et sepultus est' cadence from the Crucifixus in Bach's Mass in B minor. In another sense I think of it not so much as my music but a way of listening to Bach's music.' - JohnTavener

I hide myself With a lily Go lovely Rose-Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song really. All of the musical suggestions come from a careful study of the poem a quiet passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction and this mood mustprevail in the performance: shy and sullen her passion surging to the surface only to sink back into the silence that is herself.Go Lovely RoseThe piece is structured around the cyclical lifeof a rose and is connection throughout by the opening 'rose motif' a seed that begins on the tonic and grows in all directions before it blossoms dies and grows again. Each season is represented: spring begins the piece summerappears at bar 13 autumn at bar 26 winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfectFibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approachedwith a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas its success is guaranteed. Water: At bar 30 this ostinato should be fluid and gentle only interrupted at bar 32 asthe butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars another patient sensuous transformation back to

FCS-Another Day of Sun is the opening song from the hugely popular musical film La La Land. This artist-approved choral version has been arranged for soprano alto and combined men’s voices with a straight-forward piano accompaniment. It forms part of the Faber Choral Singles series and is ideal for choirs of any ability.

Richard Allain's Advent Antiphon: O Dayspring for SSATBarB choir and Soprano Saxophone. Duration: approximately 3 minutes. Organists' Review: The Advent Antiphon: O Dayspring by Richard Allain is a demanding piece in which two choral groups (SABar and STB) 'may stand apart from one another' their very slow-moving chords punctuated by quasi­plainsong interjections from a soprano saxophone. It is aimed at and needs a choir of professional standard with excellent breath­control to sustain the long phrases. With the right singers and the right acoustic (not to mention a saxophonist) itis a highly atmospheric meditative work.

nach Worten der Heiligen Schrift-Since its first complete performance in 1868 in the Cathedral of Bremen Brahms's Ein deutsches Requiem is without question one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther’s translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir the voice of the community in the center of this interdenominational celebration of the dead.

Another marvelous edition from Martin Banner that would be an excellent festival or concert piece for a medium to advanced choir text from Psalm 8:6-7.

Another wonderful Choral work from the superb Vaughan Williams catalogue. This piece for SATB choir with solos and divisions and organ accompaniment is set to a 17th Century text by George Wither.

From the prolific pen of Ruth Schram comes a universal theme of love and charity which fills this piece with purpose and excellent worship potential. Drawing from the words of the Savior Ruthie has crafted a piece thatincorporates a full range of music ministry resources into a touching statement for your choir. Use the instrumentation and handbell parts to create a truly singular piece. Beautiful!

Par RUTTER JOHN. for SATB (with divisions) and organ This touching carol for choir and organ sets a tender text by G. K. Chesterton. Immaculately crafted, it has at its heart another winning melody from arguably the world's most famous living composer of carols. Offprinted from Carols for Choirs 6. / Date parution : 2023-07-31/ Répertoire / SATB [div.] et Orgue

Pelle Gudmundsen-Holmgreen's No Ground Green for Mixed Choir (SATB) and String Quartet (2012). Set of parts: WH31464A Programme note: New Ground – No Ground – Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords – going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground – at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic andI decided to write a new – lighter ground –New Ground. To disappoint my listeners as much as possible I based this piece on a very old and very well-known ground: Pachelbel’s Canon.  The piece is tonal and that suggested another –atonal – composition – No Ground (based on another string quartet – no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

Heres another outstanding Spiritual arrangement from Stacey Gibbs. Stacey always delivers just what you want to hear plus some delightful surprises that exceed expectations. This one rocks through in 4-parts (with an occasional split) withpersonality and drive. The final section ramps up and offers the exuberant finish that only Stacey can provide. A good school piece for high school college and community choirs it will also work well in church. Medium difficulty.

Full Score- Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund.   Composer's note:   Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet  Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence.    Duration approximately: 40 Minutes  

Reverand Chris Anderson has penned some moving words to commemorate the Lenten season. Teaming again with composer Richard A. Nichols this anthem opens with the choir accompanying a soloist with a cappella loos. The the choir assumes the piece for a few measures before the piano enters. A very effective opening. The modulation from C minor to C Major is another wonderful moment in this piece.

Missa Brevis Et Solemnis In C from Kv.220 is another concise heavenly mass by Mozart composed in 1775. It is often reffered to as the Sparrow Mass in reference to the chirping bird like string section though Mozart himself did not give this title. This is the Choral score for SATB choir. **If ordering less than 20 copies the music will be watermarked ‘Perusal Copy’ (Probe-Partitur) by Breitkopf**

The Cree Indians from the North American continent have a delightful morning song that has been artfully arranged by Brian Tate. Beginning with bird sounds the melody line is first presented by the sopranos. A pedal point is set by the tenors and basses as the altos take their turn with the tune. As with so many Tate arrangements staging is easily a part of the presentation as the simple lines cross and lift one another. Some suggestions are provided but each group will find their own path. Wonderful for high school community choir and college. Easy to medium in difficulty.