Edited by Geoffrey Bush and Michael Hurd Four glees and madrigals by Pearsall, Stafford, Smith, Walmisley and S. Wesley. SSATB CONTENTS PEARSALL, R.L. Why weeps, alas! my lady-love STAFFORD SMITH, J. Blest pair of sirens WALMISLEY, T.A. Sweete floweres! ye were too faire WESLEY, Samuel O sing unto mie Roundelaie

Tonalité : Phrygisch -. Par HAMMERSCHMIDT ANDREAS. Gattungen: Motetten - Verwendung / AnlÀsse: Trauer, Tod - Verwendung / Kirchenjahr: Pianoingsten - Langue : Allemand / Mottet / Répertoire / Choeur SSATB

Photo 51. for SSATB unaccompanied Composed for International Women's Day, this mesmerizing piece celebrates the centennary of Rosalind Franklin and sets her own words with additional text by the poet Sean Street.

Tonalité : Dorisch -. Par STOBAEUS JOHANNES. Gattungen: Kirchenlieder, SÀtze - Verwendung / Kirchenjahr: Wei cor achten - Langue : Allemand / Hymnes et chorals / Répertoire / Choeur SSATB

Partita Dell'Amante. Aus: Italienische Madrigale. Par SCHUTZ HEINRICH. Tonalité : a-Moll - SWV 18 (op. 1 #18)/ Répertoire / Choeur SSATB

Par SCHONDLINGER ANTON. Gattungen: Psalmen, deutsch - Verwendung / AnlÀsse: L Hautbois und Dank - Verwendung / Kirchenjahr: Pianoingsten - Langue : Allemand / Psaumes / Répertoire / Choeur SSATB

The popular hit Downtown, originally performed by Petula Clark is now arranged for Unaccompanied SSATB choir by Carsten Gerlitz. This pack contains 10 of the vocal scores.When writer Tony Hatch first walked down Broadway in New York in 1964, he got the inspiration to write this song, which immediately hit the top of the charts and helped Clark attain an international career. The song was inducted into the Grammy Hall of Fame, and has not lost its magic, even after 50 years. / Choeur Mixte (SSATB)

This gospel-flavored work is a setting of lyrics by famed Harlem Renaissance composer/poet James Rosamund Johnson depicting the power of music to change darkness to light and sadness to joy. A wonderful selection for combined choirs and festival performances!

from Sid Meier's Civilization IV. Translated from the words of the Lord's Prayer. this Grammy-winning 2005 composition from the fourth entry in the award-winning video game franchise Civilization is a watershed moment in video game composition. Becoming the first piece of video game music to ever be even nominated for a Grammy, this epic piece is presented for the first time at Hal Leonard. The Closer Look pane on this product page contains pronunciation guides and an introduction to the language of Swahili by linguist and Kiswahili expert Peter M. Mhunzi.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ RĂ©pertoire / SSATB et Orchestre

This unaccompanied SSATB choral arrangement of The Beatles classic With A Little Help From My Friends by Carsten Gerlitz includes 10 vocal scores to allow mixed choirs to sing this paean to friendship.One of The Beatles' most popular compositions, it was composed for Ringo Starr to sing, and therefore needed to have just five notes in the melody to accommodate his limited vocal range. The song inspired a number of famous cover versions, most notably Joe Cocker's at Woodstock. / Choeur Mixte (SSATB)

This 5 minute anthem for choir SSATB setting a text by George Herbert was commissioned by the Dean and Chapter of The Cathedral and Abbey Church of St Alban to mark the 900th anniversary of the consecration of the Norman Abbey performed at Solemn Evensong 18 October 2015.

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

A cappella motet from Adiemus: Songs Of Sanctury-Motets is a set of intimate and spiritually uplifting a cappella choral works by Karl Jenkins featuring new pieces and arrangements of a selection of movements from his most popular works including The Armed Man Requiem Adiemus and The Peacemakers.Although scored for mixed choir a cappella most pieces include an optional accompaniment for piano or organ. Next to the complete vocal score (BH 12937) all 19 separate motets are also available as single pieces.Motets was recorded on Deutsche Grammophon 0289 479 3232 by Stephen Layton and Polyphony.