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Gustav Holst: The Song Of The Blacksmith: SATB: Vocal Score
3.25
Gustav Holst: The Song Of The Blacksmith: SATB: Vocal Score
Chorale SATB
[Vocal Score]
J. Curwen and Sons
In his use of authentic Englsh folksongs Gnostic texts and Vedic hymns one can...
(+)
In his use of authentic Englsh folksongs Gnostic texts and Vedic hymns one can discern Holst’s search for a compositional Voice beyond the constraints of the European canon in the early 1900’s. In 1916 hepublished Six Choral Folk Songs of which Hampshire folk tune The Song of the Blacksmith is the fourth.Holst uses the power of his mixed Voice Chorale to set the song among onomatopaeic syllables to evoke the smithy. The song isone verse long which Holst repeats not quite completely three times like the endlessly spinning thoughts of a rejected lover. There are many time signature changes between 4/4 and ¾.Gustav Holst has earned a place amongthe most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.
3.25 GBP - vendu par Musicroom GB
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Der 100 (REGER MAX)
14.49
Der 100 (REGER MAX)
Chorale SATB
SATB divisi
Carus Verlag
Op. 106. Par REGER MAX. Max Reger?s setting of Psalm 100 is one of the ?grand st...
(+)
Op. 106. Par REGER MAX. Max Reger?s setting of Psalm 100 is one of the ?grand style? choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger?s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over ?Ein feste Burg ist unser Gott?. The composer?s declared aim was: ?The psalm must go so brilliantly, that all will be simply ?bowled over?.? / Date parution : 2023-03-11/ Répertoire / SATB [Divisi] et Piano
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David Dickau: Stars I Shall Find: SATB: Vocal Score
2.50
David Dickau: Stars I Shall Find: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Walton Music
Set to an early 20th century poem by Sara Teasdale this SATB work speaks of pea...
(+)
Set to an early 20th century poem by Sara Teasdale this SATB work speaks of peace through the music of stillness holy and low... Stars I shall find. Lovely concert work for school or church. Unaccompanied.
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Just a Closer Walk with Thee: SATB: Vocal Score
14.25
Just a Closer Walk with Thee: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Hinshaw Music Inc.
Anonymous-One of the early 20th century's most popular gospel hymns Graham Farr...
(+)
Anonymous-One of the early 20th century's most popular gospel hymns Graham Farrell has arranged the work here for mixed chorus organ and trumpet. Try this contemporary setting in church or festival gatherings.
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Jeffrey Van: A Sprig Of Rosemary: SATB: Instrumental Work
11.25
Jeffrey Van: A Sprig Of Rosemary: SATB: Instrumental Work
Chorale SATB
[Partition]
Schirmer
Dale Warland Choral Series-Commissioned to honor a marriage celebration this te...
(+)
Dale Warland Choral Series-Commissioned to honor a marriage celebration this text by the early 20th-century poet Amy Lowell speaks to love and commitment. But the title is enigmatic (no sprigs of resemary are mentioned in the poem itself) until onediscovers that in addition to its well-known properties as a plant and herb Rosemary is a traditional symbol of remembrance and constancy; so the author made a knowing and perfect choice for the title.?In settingthis text the composer creates a harmonic richness which would complement and reflect the ?soft richness? of Lowell's words of recalling and caring.
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Zwei Gesänge (ZEMLINSKY ALEXANDER)
14.38
Zwei Gesänge (ZEMLINSKY ALEXANDER)
Chorale SATB
Universal Edition
nach Texten von Maurice Maeterlinck. Par ZEMLINSKY ALEXANDER. Two of Zemlinsky's...
(+)
nach Texten von Maurice Maeterlinck. Par ZEMLINSKY ALEXANDER. Two of Zemlinsky's representative songs from the early 20th century are presented here by editor Clytus Gottwald: Als ihr Geliebter schied, Op. 13 No. 4, and Und kehrt er einst heim, Op. 13 No. 5, in a transcription for five voices or chorus. Gottwald chose these as a logical pair, both dealing with 'parting and returning in vain,' yet both examples of Zemlinsky's art. For advanced performers./ Répertoire / Choeur [SATBB] ou Voix Solistes [Soprano, Alto, Té
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Peter Assad: Snowflake: Mixed Choir a Cappella: Vocal Score
11.25
Peter Assad: Snowflake: Mixed Choir a Cappella: Vocal Score
Chorale SATB
[Vocal Score]
National Music Publishers
Peter Assad composed both the text and music for this madrigal. The text can sta...
(+)
Peter Assad composed both the text and music for this madrigal. The text can stand for the uniqueness of a snowflake as the title dictates or metaphorically for someone else as perhaps the dedication to his wife connotes. The gentle harmonies depicta style reminiscent of the early 20th century and the word painting is tender and clear. Advanced high school college and community choirs will enjoy this lovely piece in winter concerts or whenever snowflakes are near. Medium difficulty.
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Harry Escott: O Viridissima Virga: SATB: Vocal Score
13.99
Harry Escott: O Viridissima Virga: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
Chester
This is the Vocal Score for British composer Harry Escott's O Viridissima Virga ...
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This is the Vocal Score for British composer Harry Escott's O Viridissima Virga which explores a fresh take on the Christmas story by delving into women's poetry from the late 19th and early 20thcenturies arranged for SATB. The first performance of O Viridissima Virga took place on the 5th December 2010 at St. Bride's Church in London performed by the choir of St. Bride's.Lasting around 25 minutes the texts on which the composition is based are those written by females around the turn of the 20th century presenting an innovative and fascinating approach to the periods of Advent and Nativity witha constant undercurrent of foreboding that backgrounds even the most beautiful parts of the piece's melody. The poems are frames by two settings of hymns to the Virgin Mary written by a 12th century BenedictineAbbess. Composer Harry Escott has studied at Oxford University and the Royal College of Music and is primarily known as a composer of film scores. He has written for criticallyacclaimed films such as Hard Candy Deep Water Shame and Welcome to the Punch.
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Frank Bridge: 5 Part-Songs: SATB: Vocal Album
5.50
Frank Bridge: 5 Part-Songs: SATB: Vocal Album
Chorale SATB
SATB
[Sheet music]
-
Intermédiaire
Thames Publishing
These five part-songs were composed over ten years from 1903 to 1913 but only t...
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These five part-songs were composed over ten years from 1903 to 1913 but only the first was published in the composer’s lifetime. Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. These songs display Bridge’s skill and craftsmanship.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respected conductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.
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Blow The Wind Southerly: SATB: Vocal Work
3.99
Blow The Wind Southerly: SATB: Vocal Work
Chorale SATB
SSAATTBB A Cappella
[Partition]
-
Intermédiaire/avancé
Chester
Blow The Wind Southerly is a Northumbrian traditional early 19th century song p...
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Blow The Wind Southerly is a Northumbrian traditional early 19th century song possibly with words from a much older source a haunting tune that has been recorded over the decades by many singers among them famously Kathleen Ferrier in the middle of the 20th century as well as Nana Mouskouri Bryn Terfel Leslie Garrett Andreas Scholl and others. Cameron evokes the unending wind of the sea and the endless waiting of thesinger with programmatic ‘blow’ and ‘blow wind’ Vocal accompaniments to the melody line. He postpones full Choral statement of the melody until the final verse then lets the wind finish the work. Contemporary Englishcomposer and arranger John Cameron has earned an excellent reputation for his film television and theatre work including films Kes Driftwood The Ruling Class and theatrical productions Les Miserables Spend Spend Spend and for the Royal Shakespeare Company National Theatre and others.
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Christmas Cantata (PINKHAM DANIEL)
13.80
Christmas Cantata (PINKHAM DANIEL)
Chorale SATB
SATB, Cuivre(s)
[Partition]
Leduc, Alphonse
Par PINKHAM DANIEL. American composer, organist and harpsichordist, Daniel Pinkh...
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Par PINKHAM DANIEL. American composer, organist and harpsichordist, Daniel Pinkham (1923-2006) studied the Organ and music theory at Phillips Academy in Andover before studying at Harvard. His Christmas Cantata is an exciting addition to the choral repertoire. Pinkham was famously moved by a concert in Andover given by the Trapp family singers in 1939, soon after they had escaped Austria. He quoted, 'Here, suddenly, I was hearing clarity, simplicity. It shaped my whole outlook. ' Pinkham ''s career saw him teach at the Boston Conservatory and the New England Conservatory of Music, as well as being organist of King''s Chapel inBoston for 42 years. His compositions varied from symphonies to art songs, althought predominantly his music was religious in nature, frequently incorporating a choir and Organ. Christmas Cantata represents Pinkham ''s influence of 20th-Century trends, often embracing plainchant, joining Stravinsky and Hindemith''s revival of early music. For all aspiring choirs seeking varied modern repertoire, Christmas Cantata provides an exciting performance work./ Répertoire / Ensemble de Cuivres et Voix
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Stanley Dickson: Thanks Be To God: SATB: Vocal Work
2.25
Stanley Dickson: Thanks Be To God: SATB: Vocal Work
Chorale SATB
SATB
[Partition]
Edwin Ashdown
Thanks be to God is traditional in style and lends itself well to this four-part...
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Thanks be to God is traditional in style and lends itself well to this four-part arrangement with stately chordal accompaniment. Few people know that ‘Stanley Dickson’ did not write this internationally renowned song of thanks. There was no ‘Stanley Dickson.’ It was a pseudonym one of several used by Australian composer May Brahe to allow publishers to print more of her prodigious output. The only Australian woman composer of international renown inthe first part of the 20th century May Brahe also penned Bless This House and nearly 500 others.
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Lully, Lullay (Novello New Choral Series)
4.90
Lully, Lullay (Novello New Choral Series)
Chorale SATB
Novello & Co Ltd.
Lully, Lullay was written at the request of Philip Reed, music director of the B...
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Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB
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Harriet Wybor: Lully Lullay (Novello New Choral Series): SATB: Vocal Score
2.99
Harriet Wybor: Lully Lullay (Novello New Choral Series): SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
Lully Lullay was written at the request of Philip Reed music director of the B...
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Lully Lullay was written at the request of Philip Reed music director of the Bury St Edmunds Bach Choir which gave the first performance on 17 December 2011 at Holy Trinity Church Long Melford Suffolk. Inspired by the familiar medieval text of the Coventry Carol it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses where the melody ispassed between the upper and lower voices clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence.An inspiring selection of new works from a range of contemporary composers the Novello New Choral Series offers pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles.Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University followed by an M.A. in composition with Martyn Harry and António Pinho Vargas.Harriet’s main compositional interests are sacred and secular contemporary choral and chamber music and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber) Psappha the Allegri String Quartet St John’s College Choir Durham the Bury St Edmunds Bach Choir and the Fishburn Band broadcast on BBC Radio 2’s Listen to the Band.After graduating from Durham University Harriet continued her studies at the University of Edinburgh where she read for
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