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Peter Maxwell Davies: Peter Maxwell Davies: SATB: Vocal Score
29.99
Peter Maxwell Davies: Peter Maxwell Davies: SATB: Vocal Score
Chorale SATB
SATB, Orchestre
[Vocal Score]
Chester
Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra u...
(+)
Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.
29.99 GBP - vendu par Musicroom GB
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I Will Lay Me Down In Peace (JOLLIFFE EDMUND)
4.50
I Will Lay Me Down In Peace (JOLLIFFE EDMUND)
Chorale SATB
SATB, Piano
Stainer and Bell
Par JOLLIFFE EDMUND. For parish choirs Edmund Jolliffe offers a fine post-commun...
(+)
Par JOLLIFFE EDMUND. For parish choirs Edmund Jolliffe offers a fine post-communion anthem in a much-loved idiom of Anglican liturgical music. The resources are straightforward: SATB choir without divisions, and Piano. The effects however are subtle. The music builds steadily through broadly phrased paragraphs that balance individual lines within the choral ensemble, in a landscape of gently shifting yet unexpected harmonic effects. Immediately appealing, this music will reach out to a range of listeners, both regular worshippers and those for whom occasional church attendance is an opportunity for quiet reflection in words and music. For parish choirs Edmund Jolliffe offers a fine post-communion anthem in a much-loved idiom of Anglican liturgical music. The resources are straightforward: SATB choir without divisions, and Piano. The effects however are subtle. The music builds steadily through broadly phrased paragraphs that balance individual lines within the choral ensemble, in a landscape of gently shifting yet unexpected harmonic effects. Immediately appealing, this music will reach out to a range of listeners, both regular worshippers and those for whom occasional church attendance is an opportunity for quiet reflection in words and music./ Feuillet / SATB et Piano
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Craig Hella Johnson: Song of Gratitude: SATB: Vocal Score
11.25
Craig Hella Johnson: Song of Gratitude: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
Schirmer
Craig Hella Johnson Choral Series-Craig Hella Johnson's Song Of Gratitude for SA...
(+)
Craig Hella Johnson Choral Series-Craig Hella Johnson's Song Of Gratitude for SATB choir with Piano accompaniment. Written to be sung in unison or in hymn-style harmony this heartfelt work can be sung on any number ofoccasions in which the gathered community wishes to sing an expression of gratitude.Song Of Gratitude would make an excellent choice for a tribute to a significant individual or could beperformed to celebrate personal achievements or life events.
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Der Erste Ton, Musik Zur Declamation (Wev B.2) - Hymne In Seiner Ordnung Schafft Der Herr (Wev B.8) Wev B.2 U. Wev B.8
249.20
Der Erste Ton, Musik Zur Declamation (Wev B.2) - Hymne In Seiner Ordnung Schafft Der Herr (Wev B.8) Wev B.2 U. Wev B.8
Chorale SATB
SATB, Orchestre
Schott
La renommée de Carl Maria von Weber repose principalement sur , Der Freischütz...
(+)
La renommée de Carl Maria von Weber repose principalement sur , Der Freischütz '. Le succès sans précédent de cet opéra éclipsé tous ses autres travaux et a contribué à leur chute de plus en plus dans l'oubli . Certains travaux tels que , Preciosa ', , Oberon , et , Euryanthe ' , les ouvertures, concertos en solo et sonates pour piano , des lieder et chambre oeuvres jouissent d'une grande popularité et ont été largement connus en Allemagne et à l'étranger aussi tard que la deuxième moitié de la 19ème siècle . Cependant , toute chance d'une renaissance de Weber et influentoeuvre considérable a été perdu dans les années 1920 , quand une édition complète - commencé par Hans Joachim Moser et avec les contributeurs potentiels, y compris Wilhelm Kempff , Hans Pfitzner , Max von Schillings , Fritz Stein et Richard Strauss - a échoué après le troisième volume .Depuis , il ya eu de nombreuses tentatives pour relancer une édition complète des oeuvres de Weber , mais que ce genre de projet , il aurait fallu la collaboration de chercheurs des deux côtés de la frontière inter- allemande , la situation politique après 1945 n'était pas propice à une telle entreprise . Négociations approfondies ont conduit aux premières mesures concrètes dans les années 1980 . L'intention , dès le début , était de placer l'oeuvre de Weber dans son contexte, et ne pas se séparer de sa production musicale de son travail influent comme un écrivain , critique et organisateur dans le domaine musical , mais de publier ses compositions avec ses lettres, journaux et d'autres la production littéraire comme le meilleur moyen de documenter la fertilisation croisée entre ses activités musicales , littéraires et pratiques .Depuis la réunification des deux - groupes de travail allemands concernés - à la Staatsbibliothek zu Berlin , et au Séminaire Musikwissenschaftliches , Detmold / Paderborn - ont coopéré sur l'édition complète des oeuvres musicales ( c. 45 volumes de la série 10 : sacré musique - cantates , des odes et des autres travaux occasionnels- oeuvres scéniques , lieder et des oeuvres vocales - oeuvres orchestrales , musique de chambre , musique pour piano - réductions pour piano - Miscellanea , arrangements et orchestrations , des oeuvres d' attribution douteuse ) . Les journaux (6-8 vol.) Sont édités à Berlin et les lettres (8-10 vol.) Et d'autres écrits ( 2 vol. ) À Detmold .Cette édition complète vise à constituer une base fiable de débat scientifique , ainsi que pour la pratique de la performance authentique de la musique de Carl Maria von Weber . Conforme aux normes d'éditions historico-critiques récentes , le matériau textuel sera basé sur les sources authentiques disponibles , accompagnés par une documentation détaillée de la genèse et une liste de variantes pour chaque travail . L'importance musicologique des travaux sera évaluée en les plaçant dans leur contexte historique , la présentation de leur genèse , l'histoire et les commentaires critiques . Les lettres , les écrits et les journaux seront considérés comme interdépendants et pertinente à l'autre dans les commentaires , donc les lecteurs devraient bénéficier d'une foule de renseignements concis et renvois . / Choeur Mixte (SATB) Et Instruments Divers
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Thea Musgrave: To Sleep: SATB: Vocal Score
3.99
Thea Musgrave: To Sleep: SATB: Vocal Score
Chorale SATB
SATB A Cappella
[Vocal Score]
Novello & Co Ltd.
for SATB Choir unaccompanied-To Sleep by Thea Musgrave for unaccompanied SATB ch...
(+)
for SATB Choir unaccompanied-To Sleep by Thea Musgrave for unaccompanied SATB choir. This 5 minute piece sets text by John Keats. This work originally entitled ‘Midnight’ was written in 1992 for Laura Lane and the Nova Singers for the American Choral Directors National Convention in San Antonio Texas March 4th 1993. It has now been completely revised and is retitled ‘To Sleep’. 'It is notably contrapuntal in texture with homophonic textures employed only for occasional emphasis demonstrating her assured and sensative word-setting and subtle handling of harmonic nuance'. Choir & Organ December2017
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John Joubert: Preces And Responses: SATB: Vocal Score
3.25
John Joubert: Preces And Responses: SATB: Vocal Score
Chorale SATB
SATB
[Vocal Score]
Novello & Co Ltd.
for unaccompanied SATB chorus-For Unaccompanied SATB chorus.First performed on W...
(+)
for unaccompanied SATB chorus-For Unaccompanied SATB chorus.First performed on Wednesday 11th August 2010 given by the choirs of Gloucester Cathedral Hereford Cathedral and Worcester Cathedral conducted by Adrian Partington at the 283rd Three Choirs Festival.'In Joubert’s setting the priest’s part is sung in speech rhythm in some places but in others it is measured and occasionally interlocks with the choral parts. The harmonic style vacillates between a language that is recognizably Joubert’s and one that seems to recall Elgar’s partsongs.' - Sunday by Sunday (RSCM) John Joubert - Preces and Responses by musicroom
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The Novello Book Of British Folksongs
33.10
The Novello Book Of British Folksongs
Chorale SATB
SATB, Piano
Novello & Co Ltd.
The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable col...
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The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable collection of diverse tunes that have descended from the folksongs across the British Isles. A variety of arrangements are included, both old and new, of well-loved tunes as well as some lesser-known pieces. All 34 tunes are arranged for SATB Chorus with Piano accompaniment, making this a brilliant way to enhance your choir's repertoire.This Book Of British Folksongs offers a grand selection of favourite folk tunes arranged by composers such as Ralph Vaughan Williams, Gustav Holst, Paul Mealor and George Dyson. Tunes like A-Hunting We Will Go, Auld Lang Syne, Bonny At Morn, Come Lasses And Lads and Scarborough Fair suggest the sheer diversity on offer here. From sad tunes to happy songs, the arrangements here are at once beautiful and touching, coming truly to life when sung by a Mixed-Voice Choir. These thirty four folk songs will enrich a performance programme, whether as one part or the entirety. Choirs of all types and abilities will be able to discover their favourite arrangements, either the most beautiful, the funniest, or the most enjoyable to sing. With the country experiencing a revival in singing traditional folksongs, this collection is a great way to experience the unabashed joy that performing these British tunes can bring. With a great number of favourite tunes as well as some lesser-known songs, this collection includes songs like There Were Three Ravens, Yarmouth Town, My Love Is Like A Red, Red Rose, Dance To Your Daddy and The Rio Grande, as well as an extensive and fascinating introduction by Jeremy Summerly.The wonderful thing about singing folksongs is they are like a window into our country's history. They are occasionally funny, often dramatic, but always enjoyable to sing, and their diversity reflects the different people, landscapes and cultural history of the British Isles. These folk tunes can be traced back through British history, evolving through the oral tradition, continually changing lyrics and melody, being amended and sculpted according to the people who sung them. These timeless tunes have been recorded in this innovative Novello Book Of British Folksongs For Mixed-Voice Choir, however, the joy of these songs is you can put your own spin on them, adapting them to how you want them sung and continuing their legacy. This wonderful collection is a fantastic addition to any choir's performance repertoire, and is sure to lead to success for the choir and audience for many years to come. / Choeur Mixte (SATB) Et Piano
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The King Of Glory (RODGERS SARAH)
4.50
The King Of Glory (RODGERS SARAH)
Chorale SATB
SATB, Orgue
Stainer and Bell
Par RODGERS SARAH. Choral settings of ‘Lift up your heads, O ye gates’ from ...
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Par RODGERS SARAH. Choral settings of ‘Lift up your heads, O ye gates’ from Psalm 24 are numerous, from that of the sixteenth-century Geneva Psalter of Claude Goudimel to the present day. Unsurprisingly so, as the text has many appropriate liturgical applications. In this jubilant setting, The King of Glory, Sarah Rodgers has provided church choirs of all abilities with a truly celebratory anthem that in its writing for SATB displays many elements of choral craft, from unison and two-part textures to a satisfyingly contrapuntal full harmony. The driving, rhythmic figure in the organ accompaniment underpins and uplifts the voices, and occasional harmonic juxtapositions add delightfully unexpected moments of colour. Importantly, with a proficient organist, the anthem can be prepared with just one or two rehearsals. It is certain to be of great appeal both to choirs and to congregations. / Date parution : 1905-07-10/ Feuillet / SATB et Orgue
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Nun Danket Alle Gott (BACH JOHANN SEBASTIAN)
10.50
Nun Danket Alle Gott (BACH JOHANN SEBASTIAN)
Chorale SATB
[Partition]
Carus Verlag
Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun dan...
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Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun danket alle Gott” (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig)./ Répertoire / Chœur Mixte et Piano
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The Novello Book Of British Folksongs: SATB: Vocal Score
19.99
The Novello Book Of British Folksongs: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
Novello & Co Ltd.
The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable col...
(+)
The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable collection of diverse tunes that have descended from the folksongs across the British Isles. A variety of arrangements are included both old and new of well-loved tunes as well as some lesser-known pieces. All 34 tunes are arranged for SATB Chorus some with Piano accompaniment making this a brilliant way to enhance your choir's repertoire. This Book Of British Folksongs offers a grand selection of favourite folk tunes arranged by composers such as Ralph Vaughan Williams Gustav Holst Paul Mealor and George Dyson.Tunes like A-Hunting We Will Go Auld Lang Syne Bonny At Morn Come Lasses And Lads and Scarborough Fair suggest the sheer diversity on offer here. From sad tunes to happy songs the arrangements here are at once beautiful and touching coming truly to life when sung by a Mixed-Voice Choir. These thirty four folk songs will enrich a performance programme whether as one part or the entirety. Choirs of all types and abilities will be able to discover their favourite arrangements either the most beautiful the funniest or the most enjoyable to sing. With the country experiencing a revival in singing traditional folksongs this collection is a great way to experience the unabashed joy that performing these British tunes can bring. With a great number of favourite tunes as well as some lesser-known songs this collection includes songs like There Were Three Ravens Yarmouth Town My Love Is Like A Red Red Rose Dance To Your Daddy and The Rio Grande as well as an extensive and fascinating introduction by Jeremy Summerly. The wonderful thing about singing folksongs is they are like a window into our country's history. They are occasionally funny often dramatic but always enjoyable to sing and their diversity
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Tarik O'Regan: The Night's Untruth: SATB: Score
17.99
Tarik O'Regan: The Night's Untruth: SATB: Score
Chorale SATB
Novello & Co Ltd.
Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and O...
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Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review
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Tarik O'Regan: The Night's Untruth: SATB: Vocal Score
16.99
Tarik O'Regan: The Night's Untruth: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and O...
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Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review
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Eric Whitacre: Three Flower Songs: SATB: Vocal Score
4.50
Eric Whitacre: Three Flower Songs: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
-
Intermédiaire/avancé
Chester
I hide myself With a lily Go lovely Rose-Written early in Whitacre's career wh...
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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
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Choral collection Bruckner. Sacred choral music (BRUCKNER ANTON)
20.40
Choral collection Bruckner. Sacred choral music (BRUCKNER ANTON)
Chorale SATB
SATB, Piano
Carus Verlag
Par BRUCKNER ANTON. Great art in small forms ? Bruckner's smaller sacred works r...
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Par BRUCKNER ANTON. Great art in small forms ? Bruckner's smaller sacred works reveal a more personal side to the master symphonist and creator of large-scale orchestral masses. Throughout his life, Bruckner?s deep faith and dedication to the Catholic liturgy inspired him to write church music in smaller forms suitable for performance at Sunday services or in sacred concerts. The long phrases and shimmering sounds of Locus iste, the chromatic modulations and thrilling climaxes in Christus factus est (1884) and in Virga Jesse (1885), or the use of church modes in almost all the motets present a range of fascinating challenges to any choir.In addition to the well-known motets, the choral collection includes smaller sacred works such as short mass settings (a cappella or with organ) and simple liturgical songs and hymns, some with organ or occasionally with trombones. In addition, the volume presents two somewhat longer works from Bruckner?s youth: a Magnificat and a setting of Psalm 23, both with piano accompaniment.The Choral Collection Bruckner. Sacred Choral Music is an expanded new edition of the successful choral collection Anton Bruckner für Gottesdienst und Konzert (Sacred works for worship and concert, Carus 2.065).A detailed preface and several indexes supplement the musical scores in the editionCHORLEITUNG with information on the works and their liturgical usability. An affordable volume (editionCHOR) is also available for purchase, as well as separate editions in print and digital form.?,New expanded volume featuring 39 sacred choral works at all levels of difficulty?,For use both in worship and in concert / Date parution : 2023-06-01/ Répertoire / SATB et Piano
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O Lux Beata
5.70
O Lux Beata
Chorale SATB
SATB, Orgue
Boosey and Hawkes
'O Lux Beata? ('O Blessed Light') was commissioned by The Fotheringhay Singers (...
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'O Lux Beata? ('O Blessed Light') was commissioned by The Fotheringhay Singers (Marius Carney, conductor). The work, a setting of a 4th-century hymn text ascribed to St Ambrose of Milan, contrasts a plainsong style melody over the organ pedals with the rich and lyrical outpouring of larger choral sections. Although challenging in places, the subtle chromaticism and occasional lush close-harmonies create a very powerful and impressive anthem for general sacred use (the text is particularly fitting for evening use or on Trinity Sunday) but also as a striking addition to a concert programme.'O Lux Beata? is featured on Tenebrae's album 'Lux et Veritas'. / Choeur Mixte (SATB) Et Orgue
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Alan Bullard: Child In The Manger Lord Of All: Mixed Choir: Vocal Score
2.50
Alan Bullard: Child In The Manger Lord Of All: Mixed Choir: Vocal Score
Chorale SATB
SATB A Cappella
[Vocal Score]
Oxford University Press
Paperback-For SATB unaccompanied.This attractive carol has a tuneful melody with...
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Paperback-For SATB unaccompanied.This attractive carol has a tuneful melody with a slight modal feel. Opening with melody alone sung solo or in unison the carol builds up harmonically moving from octave thirds to the rich occasionally chromatic harmonies of the central section. A lovely addition to any choir's Christmas repertory.
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Magnificat And Nunc Dimittis
6.80
Magnificat And Nunc Dimittis
Chorale SATB
SATB, Orgue
Boosey and Hawkes
New settings of the two evening canticles which incorporate jazz elements, inclu...
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New settings of the two evening canticles which incorporate jazz elements, including harmony in voice parts and organ and many 'blue' notes. Despite these jazz elements, the music is very approachable, with natural syncopation and mostly homophonic writing. It is also available for upper or lower unison voices, with occasional optional divisi (ISMN 979-0-060-13012-0). Either version would be enjoyable and rewarding additions to a church choir's modern liturgical repertoire, or indeed concert repertoire of all choirs. / Choeur Mixte (SATB) Et Orgue
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Musik Zu Kasualien, Heft 4
47.60
Musik Zu Kasualien, Heft 4
Chorale SATB
[Partition]
Carus Verlag
“Music for solo organ” is the fourth volume in the series “Music for occas...
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“Music for solo organ” is the fourth volume in the series “Music for occasional services. ” In choosing the music for this collection the editor was guided by the principle of publishing not only arrangements of well-known music, but above all unknown organ works. In selecting older as well as newer organ music for “Music for occasional services” care was taken to achieve a balance between the various styles represented in this collection. As a rule, the level of performance is within a moderate range of difficulty. In addition to the indications for the use of these pieces contained in the table of contents, they may also be played in church on many occasions, for sacred eveningservices, and last, but not least, they are practical for use in organ instruction./ Répertoire / Choeur Mixte
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Benjamin Britten: Te Deum In C: SATB: Score
24.99
Benjamin Britten: Te Deum In C: SATB: Score
Chorale SATB
SATB, Orchestre
[Partition]
Chester
In preparing for publication the 1935 orchestral version of Britten's Te Deum in...
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In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.
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John Rutter: Winchester Te Deum: SATB: Vocal Score
8.75
John Rutter: Winchester Te Deum: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Oxford University Press
John Rutter's Winchester Te Deum is a glorious work with a great sense of ceremo...
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John Rutter's Winchester Te Deum is a glorious work with a great sense of ceremony. Written for Winchester Cathedral this important setting is bright and joyful and equally suitable for church and concert performance. It pairs wonderfully in a concert half with Rutter's Gloria and provides perfect material for a festival evensong or occasional service. This can be performed by SATB choir accompanied by either organ organ with 5-part brass ensemble (2 trumpets horn trombone tuba) and optional timpani and percussion or orchestra.
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Jimmy Van Heusen Johnny Burke: Here's That Rainy Day: SATB: Vocal Score
13.75
Jimmy Van Heusen Johnny Burke: Here's That Rainy Day: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Shawnee Press
Who could resist this timeless jazz standard arranged by the incomparable Darmon...
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Who could resist this timeless jazz standard arranged by the incomparable Darmon Meader? This bossa nova setting for SATB voices features unison to fourpart singing and occasional divisi that only Darmon could craft in such aseamless and easy way. Parts for the rhythm combo are available as well and really capture the intended style. Give your performance a “wow” moment with this new Meader work. Jazz at its finest!
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Craig Curry Julie Myers: Come Let Us Ponder: SATB: Vocal Score
13.75
Craig Curry Julie Myers: Come Let Us Ponder: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Shawnee Press
Uses: General Graduation Call to Worship Scripture: Ephesians 3:16-19; Isaiah ...
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Uses: General Graduation Call to Worship Scripture: Ephesians 3:16-19; Isaiah 1:18; I Corinthians 1:19 This anthem is a challenge to believers to consider the depth of the Word of God. Gatheringtogether for study is an important spiritual concept and this lovely tune and text is a welcome addition to sanctuary repertoire. A flowing piano part mingles with lyric vocal lines to create a special selection useful for manyoccasions. Duration: ca. 4:30.
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J. Paul Williams Joseph M. Martin: Affirmation of Faithfulness: SATB: Vocal
13.75
J. Paul Williams Joseph M. Martin: Affirmation of Faithfulness: SATB: Vocal
Chorale SATB
Shawnee Press
A stately declaration of faith and devotion to God this majestic choral from J....
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A stately declaration of faith and devotion to God this majestic choral from J. Paul Williams and Joseph Martin is powerful. God has been faithful and sustained us. Are we willing to be faithful in return? For any number ofoccasions celebrating God's guidance and grace Affirmation of Faithfulness makes a strong statement. Bold.
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James Whitbourn: Requiem Canticorum: SATB: Vocal Score
3.99
James Whitbourn: Requiem Canticorum: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Chester
Requiem canticorum is a five-movement work of 12 - 14 minutes’ duration. ...
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Requiem canticorum is a five-movement work of 12 - 14 minutes’ duration. Its title means 'a Requiem of song' or 'a Requiem of canticles' indicating that it is a commemorative piece which sets texts associated with theRequiem mass rather than being a full Requiem. It is scored for choir soprano saxophone and organ a scoring it shares with the 'Son of God Mass' by the same composer.It can be performed as a concert piece or as afree-standing anthem within the context of a commemorative event or liturgy.‘Requiem canticorum’ can also be performed in conjunction with selected movements from the ‘Son of God Mass’ to make a full concert Requiem. Thekey-structure of the two works allows for a seamless intertwining and in concert should be performed in the sequence indicated below. When performed in this way the sequence can be given the title 'Requiem' or 'Requiem Son of GodMass' in a concert programme.Introit (Requiem canticorum)Pie Jesu (Requiem canticorum)Kyrie (Son of God Mass)Alleluia (Requiem canticorum)De profundis (Requiem canticorum)Sanctus and Benedictus (Son ofGod Mass)Pax Domini (Son of God Mass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum)Amen (Son of God Mass)Additionally some of the work can be used within a Requiem liturgy the followingmovements having a liturgical place:Introit (Requiem canticorum) until bar 68Kyrie (Son of God Mass)Alleluia (Requiem canticorum)or De profundis (Requiem canticorum)Sanctus and Benedictus (Son of GodMass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum) and Amen (Son of God Mass).'There is real depth and sincerity to Whitbourn's writing lending an atmosphere of solemnity and reassuring calm. The thickhomophonic scoring and complementary modal flourishes from the Sax imbue the piece with an eastern ambience only occasionally brought back to western shores by the limited use of Organ. Low basses are essential but otherwise the
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Gian Carlo Menotti: Missa O Pulchritudo: SATB: Vocal Score
8.99
Gian Carlo Menotti: Missa O Pulchritudo: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Schirmer
Gian Carlo Menotti is frequently considered to be the greatest composer of Ameri...
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Gian Carlo Menotti is frequently considered to be the greatest composer of American opera in the twentieth century. The Missa O Pulchritudo uses the Roman Catholic text for the Mass except for the Credo which is replaced by a Motet based on the words of St. Augustine. There is some occasional part-splitting in the chorus. This is the Schirmer Edition of the vocal score and includes a Piano reduction of the orchestral accompaniment. (These orchestral parts are available on rental from G. Schirmer).
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Georg Friedrich Händel: Arianna In Creta HWV 32: SATB: Vocal Score
54.99
Georg Friedrich Händel: Arianna In Creta HWV 32: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared ano...
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Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared anonymously from Teseo in Creta by Pietro Pariati.Please note that this piano score does not contain a realisation of the figured bass. The left hand of the piano part is the figured basso continuo of the opera with occasional octave transpositions and the incorporation of some of the viola part. The right hand is a reduction of the main orchestral material. Item numbering and bar numbering accord with the full score and parts.
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Georg Friedrich Händel: All His Mercies Shall Endure: SATB: Vocal Score
11.25
Georg Friedrich Händel: All His Mercies Shall Endure: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Schirmer
from The Occasional Oratorio
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