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How Love Bleeds
7.40
How Love Bleeds
Chorale SATB
SATB A Cappella
Boosey and Hawkes
These well-known words seem endlessly fruitful for the composer and conjure up s...
(+)
These well-known words seem endlessly fruitful for the composer and conjure up such lovely images which strike each of us in our own way. For me it was the beauty of the language with its flower imagery which made me want to set the words with richly warm harmony and to temper that with gently imitative refrains. The important element in approaching the performance of this carol is the blend and balance of voices. With divisi writing and characteristically colourful harmonies, it is important that each note in the texture is given equal weight. It is also desirable that the tempo should be flexible and that phrase ends should be given a little time, especially at those moments marked either with a comma or tenuto. The final section starting with the upper voices should be ethereal and when the tenors and basses join they should do so gently to balance the upper parts. The bulk of the carol should be conducted in a minim beat, as indicated by the 2/2 time signature. Subdivisions should only be necessary at rallentandos. The piece should flow freely. 3/4 bars can be conducted in one to continue to encourage the carol's flow. Recommended recording: Come out, Lazar - The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College, Cambridge, directed by Sarah MacDonald. / Choeur Mixte (SATB) A Cappella
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The Novello Shakespeare Choral Collection
33.10
The Novello Shakespeare Choral Collection
Chorale SATB
Novello & Co Ltd.
Music played an enormous role in the works of William Shakespeare, while his own...
(+)
Music played an enormous role in the works of William Shakespeare, while his own sonnets, poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection, inspired by the 400th anniversary of the Bard's death in 2016, is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities, this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear.The collection features some beautiful settings that have well and truly stood the test of time, such as Thomas Arne's Blow, Blow, Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More, Ladies, Gary Carpenter's Lo, Here, The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass.Not only this, the Shakespeare Choral Collection boasts several works that were specially commissioned, including John Joubert's Be Not Afeard, Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil, I Haste Me To My Bed. Some pieces have never appeared before in print, such as those by Kevin Olsen, Bernard Hughes and John Gardner. These songs truly are a joy to perform, with some relatively simple arrangements that are purely fun to sing, while some more complex settings that will be thoroughly rewarding for choirs and audiences alike.A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection, which would work as a wonderful concert programme on its own, or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating introduction by editor David Wordsworth, and notes describing each piece.Words written by indisputably the greatest writer in the English language can only be matched with music by composers of talent and renown such as these. The Novello Shakespeare Choral Collection is an essential anthology of stunning settings of beautiful words which will be performed and enjoyed for many years to come. / Choeur Mixte (SATB)
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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]
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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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Thomas Tallis: If Ye Love Me Keep My Commandments: SATB: Vocal Score
11.25
Thomas Tallis: If Ye Love Me Keep My Commandments: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Schirmer
A full anthem for Whitsunday for SATB Choir a cappella. Schirmer Edition. Piano...
(+)
A full anthem for Whitsunday for SATB Choir a cappella. Schirmer Edition. Piano accompaniment included for rehearsal only.
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A Cappella Arranging: Reference Books
45.99
A Cappella Arranging: Reference Books
Chorale SATB
SATB A Cappella
Hal Leonard
The world loves to sing. From barbershop groups to madrigal choirs to vocal rock...
(+)
The world loves to sing. From barbershop groups to madrigal choirs to vocal rock bands there are tens of thousands of vocal groups in America. The success of mainstream television programs such as Glee and The Sing-Off not only demonstrates the rising popularity of vocal music; it reflects how current trends inspire others to join in. In addition through various online and on-the-ground vocal music societies the ???a cappella market??? is well defined and well connected. Like singing itself a cappella is a global phenomenon.At the heart of every vocal group is the music it performs. This often means writing its own arrangements of popular or traditional songs. This book is thelong-awaited definitive work on the subject wide ranging both in its scope and in its target audience - which spans beginners music students and community groups to professional and semi-professional performers vocal/instrumental songwriters composers and producers - providing genre-specific insight on a cappella writing.The tone of the book is instructive and informative yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook - and a ???good read??? - for every vocal arranger whether amateur or professional; every vocal music classroom and any professional recording studio.
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La Traviata
38.00
La Traviata
Italiano
Chorale SATB
SATB, Piano
Ricordi
Ricordi, the well-known printer of classical opera, presents the works of the gr...
(+)
Ricordi, the well-known printer of classical opera, presents the works of the great opera composers in its CRITICAL EDITION · PRACTICAL SERIES. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions, in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical, easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast, the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish, the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music, transforming her individual fate into a universal representation of human suffering. His compassion for her, however, met with bigoted censure: the bourgeois public, scandalized by the presence of a kept woman as a character on the stage, gave the opera an icy reception at its premiere in Venice (Teatro La Fenice, 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year, when La traviata was revived for another production in Venice (Teatro San Benedetto), did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves. / Voix Et Piano
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Patrick Hawes: The Dane Tree: SATB: Vocal Score
5.50
Patrick Hawes: The Dane Tree: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
British composer Patrick Hawes has crafted a beautiful work The Dane Tree for ...
(+)
British composer Patrick Hawes has crafted a beautiful work The Dane Tree for a Baritone Soloist SATB Chorus Oboe Trumpet Timpani and Strings. This sheet music contains only the Vocal Score: the Soloist and SATB Chorus. For this moving vocal piece Hawes has set the poem The Dane Tree by Alfred Noyes to an atmospheric composition in which the Baritone Soloist represents the Dane Tree of the poem. The work like most of Patrick Hawes's compositions takes its influence from Baroque and Renaissance periods of classical music but also a love of nature. Itis this affiliation that resounds in the poem on which this work is based about a solitary tree which sees years and years of history where humans come and go but where the one constant through memories created and lost is the tree.
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Richard Manners: New Every Morning: SATB: Vocal Score
17.50
Richard Manners: New Every Morning: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Fred Bock Music Company
Rich Manners' compositional credits include film radio and TV but he has only ...
(+)
Rich Manners' compositional credits include film radio and TV but he has only recently started writing anthems for the church. His classical training is immediately evident in this stunning setting of Lamentations 3:23-26. Thekeyboard part is intentionally written for the piano and it is wonderful. This anthem about God's love and faithfulness presents an elegant statement of praise and thanksgiving. Available: SATB.
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There Is No Rose Of Such Virtue
Chorale SATB
SATB A Cappella
Boosey and Hawkes
These well-known words seem endlessly fruitful for the composer and conjure up s...
(+)
These well-known words seem endlessly fruitful for the composer and conjure up such lovely images which strike each of us in our own way. For me it was the beauty of the language with its flower imagery which made me want to set the words with richly warm harmony and to temper that with gently imitative refrains. The important element in approaching the performance of this carol is the blend and balance of voices. With divisi writing and characteristically colourful harmonies, it is important that each note in the texture is given equal weight. It is also desirable that the tempo should be flexible and that phrase ends should be given a little time, especially at those moments marked either with a comma or tenuto. The final section starting with the upper voices should be ethereal and when the tenors and basses join they should do so gently to balance the upper parts. The bulk of the carol should be conducted in a minim beat, as indicated by the 2/2 time signature. Subdivisions should only be necessary at rallentandos. The piece should flow freely. 3/4 bars can be conducted in one to continue to encourage the carol's flow. Recommended recording: Come out, Lazar - The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College, Cambridge, directed by Sarah MacDonald. / Choeur Mixte (SATB) A Cappella
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Christmas Carol
7.40
Christmas Carol
Chorale SATB
SATB, Orgue
Boosey and Hawkes
This little piece was commissioned by King's College, Cambridge in 2002 as the t...
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This little piece was commissioned by King's College, Cambridge in 2002 as the then-latest in their celebrated annual Christmastide service of Nine Lessons and Carols for their unique Chapel - it is dedicated to the choir and its director Stephen Cleobury. 'Little', but already a mini-cantata telling the start of the familiar story - Gabriel's Annunciation - praise to the Virgin before she too sings 'my soul doth magnify the Lord': the shepherds a-watching their flocks by night - the angelic chorus in the sky - the fusion of celestial and earthy around the crib holding the baby who is also 'lord of Time and Space'. Here we stop, for now. In fact this is only the first panel of a Christmas Sequence that continues and concludes the whole tale. Seeking out unhackneyed texts, I found such attractive material in the byways that I couldn't resist weaving together from it a composite tapestry, then setting the lot! The words of this section are from the Gospel account, anonymous carols of the 15th, 16th and 17th centuries, Edmund Bolton (1611, 'Sweet music, sweeter far...'), the Gloria from the Mass, a couple of lines from well-loved Anglican Christmas hymns - with neutral link-lines of my own. The music, also, has elements of such wider referencing, which will surely not be lost on the attentive hearer! / Choeur Mixte (SATB) Et Orgue
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Couverture
Never Weather-Beaten Sail (CORP RONALD)
3.60
Never Weather-Beaten Sail (CORP RONALD)
Chorale SATB
Stainer and Bell
Par CORP RONALD. Among the UK's most noted choral composers and conductors, Rona...
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Par CORP RONALD. Among the UK's most noted choral composers and conductors, Ronald Corp does not hesitate to bring his own musical vision to a much-loved poem by the sixteenth-century lutenist songwriter and 'Doctor of Physick' Thomas Campion, following the example not only of Campion himself but also of Charles Wood and Hubert Parry. Eschewing the manner of Parry's resonant polyphony for a simple harmonised setting in a flexible verbal rhythm reflecting the measure of the words, this is a heartfelt plea for spiritual release uttered in a quietly elegiac tone, in which the serenity of the entreaty rather than its pathos is to the fore./ Feuillet / SATB a Cappella
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