Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performancesThe distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739.Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material.Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition.The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757).Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Composed in 1741 Handel’s Messiah has remained a popular choice for choir performances for nearly 275 years. With 3 Steps To Sing anyone can now learn and rehearse the piece at home regardless of their ability to read music.This easy-to-follow learning method for the Soprano part includes the following steps:Step 1 Visual Learning DVDA voice part recorded by aprofessional singer (Soprano Alto Tenor or Bass). The notes and words are displayed on the screen and change colour in time with the music all you have to do is join in as if singing a duet to learn yourpart.Step 2 Voice Part Rehearsal CDIn this second step a narrator guides you telling you when to sing and calling out where you are so that you don’t get lost. Rehearse using your vocal score(available separately) and you will soon know the words and be singing the right notes.Step 3 Chorus Backing Track CDPut what you’ve learned into practice with the third step the Chorus BackingTrack CD. Listen out for your part and sing along with the choir and background music it’s like singing with a real choir.

Choir Rocks! Rehab is Amy Winehouse's hit from the album Back to Black arranged for upper voices with piano accompaniment. This arrangement is taken from the popular Choir Rocks! series which offers flexible arrangements of contemporary pop hits. All pieces are written for soprano and alto with an optional third part of limited range for baritone or low alto with straightforward piano accompaniments perfect for the amateur pianist. Also includes chord symbols.

You Got The Love (Florence and the Machine)  from the album Lungs. Here arranged for upper voices with piano accompaniment. This arrangement is taken from the popular Choir Rocks! series which offers flexible arrangements of contemporary pop hits. All pieces are written for soprano and alto with an optional third part of limited range for baritone or low alto with straightforward piano accompaniments perfect for the amateur pianist. Also includes chord symbols.

If I Ain't Got You (Alicia Keys) arranged for upper voices with piano accompaniment. This arrangement of the hit single which comes from the album The Diary of Alicia Keys  is taken from the popular Choir Rocks! series which offers flexible arrangements of contemporary pop hits All pieces are written for soprano and alto with an optional third part of limited range for baritone or low alto with straightforward  piano accompaniment perfect for the amateur pianist. Also includes chord symbols.

Arranged for Soprano voice Violin and Piano.Violin part available separately: CH75240-01.Note from the composer:In the spring of 1996 my great friend and brilliant violinistFriedemann Eichhorn invited me and my girlfriend-at-the-time Hila Plitmann (a soprano) to give a concert with him in his home city of Speyer Germany. We had all met that year as students at the Juilliard School and wereinseparable. Because we were appearing as a band of travelling musicians 'Friedy' asked me to write a set of troubadour songs for Piano Violin and Soprano. I asked Hila (who was born and raised in Jerusalem) to write me a few'postcards' in her native tongue and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in a small skiing village in the Swiss Alps and we performed them for thefirst time a week later in Speyer.In 2001 the University of Miami commissioned me to adapt the songs for SATB chorus and string quartet and the Efroni Choir in Israel commissioned me to adapt them for SA Violin andPiano leaving me now with five(!) different versions of the same work: SATB and String Quartet; SATB Violin and Piano; SA and String Quartet; SA Violin and Piano; and the original Soprano Violin and Piano.Eachof the songs captures a moment that Hila and I shared together. 'Kalá kallá' (which means 'light bride') was a pun I came up with while she was first teaching me Hebrew. The bells at the beginning of 'Éyzeshélleg' are the exact pitches that awakened us each morning in Germany as they rang from a nearby cathedral.These songs are profoundly personal for me born entirely out of my new love for this soprano poetand now my beautiful wife Hila Plitmann.Eric Whitacre

Agnus Dei in a somewhat dark setting with a solo soprano hovering above. The composition by the young Polish composer is particularly suitable for chamber choir concerts, requires full command of the voice, and takes the audience far away from this world. / Choeur Mixte (SSAATTBB) Et Soprano Solo A Cappella

From Heaven Distilled a Clemency is the third movement of Triptych , a cantata for choir and string orchestra. The aspirational text is underpinned by rhythmically-driving strings, allowing the voices to soar excitedly overheard. / Soprano, Choeur Mixte (SATB) Et Piano

Choir Rocks! Patience presents Take That's hit single arranged for a beginner choir with straightforward piano accompaniment. This piece is for soprano and alto with an optional third part of limited range for baritone or low alto. Chord symbols are included too. The Choir Rocks Series offers a range of flexible arrangements of contemporary pop hits

This version of David of the White Rock (Dafydd Y Garreg Wen) is for Voice SATB Unaccompanied and has words in both English and Welsh and rehearsal Piano line. The tune remains in the Soprano Voice with traditional and effective harmonization.Tradition has it that David Owain was a famous Welsh harpist of the 18th century who, on his deathbed, composed this lovely tune. Words were added a century later by poet Ceiriog Hughes. David of the White Rock is widely known in Wales and abroad and is frequently sung by choirs and recorded, often with harp accompaniment. / Chant Et Piano

Barenreiter Urtext Edition of Mozart's Missa Brevis In D K.194. This authoritative vocal score version features a piano reduction of the instrumental material as well as the complete score for Soprano solo Alto solo Tenor solo Bass solo and mixed SATB choir.

An easy and original setting of the well-known Rossetti text for two-part soprano voices or soprano and alto with piano accompaniment.