Zweistimmige Organa und Motetten des 14. Jahrhunderts. Das Erbe Deutscher Musik VII/10 und 11. / Mottet / Recueil / Voix

Orpheus With His Lute is a piece written for Medium Voice and Piano Accompaniment. This piece has been composed by Edward German with lyrics taken from Henry VIII Act III scene I by William Shakespeare.Edward German was an English composer said to be best remembered for his incredible output of music for the stage and English comic opera.

Handbook of classical-modern organ playing-Handbook of classical-modern Organ playing.Barenreiter's two-volume edition is the first to offer a reference work on Organ technique systematically subdivided into 60 exercise units. It provides an overview of all relevant topics on manual and pedal playing based on the tutors by Marcel Dupré Fernando Germani Charles-Louis Hanon and Johannes Brahms as well as on their sequels and supplements. There is also a comprehensive set of exercises to maintain the achieved performance level.This compendium is a tutor for all levels of expertise and training from ambitious semi-professional organists through to fully professional church musicians and conservatorystudents. Furthermore it is aimed at all of those who teach the Organ whether privately or at academies colleges conservatories or universities.Two-volume reference work on Organ technique (Ger/Eng)Covers all relevant areas of manual and pedal playingIncludes a comprehensive set of exercisesConcise introductory text (Ger/Eng)Index for topics and keywords on teaching and performing issuesFor every level of expertise and trainingPeter Wagner (b. Karlstadt 1967) studied Catholic church music (A-level certification) Organ improvisation concert Organ and music theory in Cologne Würzburg and Salzburg. His later career led him to a wide variety of teaching consultancy and jury activities in the areas of Organ playing music theory choral and orchestral conducting voice training and children?s choirs. He has also given concert tours in Germany and abroad. From 2001 to 2003 Wagner was an educational consultant and teacher at the Bavarian State Academy of Music in Hammelburg. Since then he has been cathedral organist and choral director in Minden as well dean church musician for the archbishopric of Paderborn.

Lulla Lulla is a work for unaccompanied ATB divisi Choir by composer Owain Park. The work is dedicated to Matthew Owens and the Vicars Choral of Wells Cathedral. It is a setting of words from the mystery play 'Pageant of the Shearmen and Tailors' believed to be the original source for the 'Coventry Carol'. As well as being an award-winning composer Park also conducts sings and plays the Organ currently holding the post of Organ Scholar at Trinity College Cambridge.

Herbert Howells's Magnificat and Nunc Dimittis for the Gloucester service is one of his most popular choral settings. This sheet music is arranged for SATB Choir and Organ.Herbert Howells was a renowned English composer of church music in the Anglican evensong tradition, best known for his 'Hymnus Paradisi' and as a teacher at the Royal College of Music. His lesser-known evening canticles include this piece: with its famous treble duet opening the work, it calmly progresses to an affirmation of the glory of heaven through distinctive Lydian harmony and soaring highs. Each individual voice has its own part to play in this piece, with melodies that rise to uplifting highs and fall to booming lows, the combination of voices blends and binds to create a gliding and soaring unity of harmony. This Magnificat and Nunc Dimittis sheet music is the most accurate transcription available of an awe-inspiring piece that is acclaimed by fans of choral music for its beautiful composition and wondrous voicing. / Choeur Mixte (SATB) Et Orgue

Une centaine de paramètres alternatifs magnifiquement conçus et dernière-verset arrangements par un maître de l'art. Il sera un élément précieux de reper­toire du toute organiste, chant de l'hymne congrégations offrant cette vitalité supplémentaire et la levée. / Orgue

for Upper Voices and Orchestra. The Lost Words by composer James Burton takes its inspiration and text from the award-winning ?cultural phenomenon? and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children?s dictionary. Both the book and Burton?s 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or ?spell?, magically brought to life in Burton?s music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton?s piece was co-commissioned by the Hallé Concerts Society for the Hallé Children?s Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children?s Choir, of which Burton is founder and director. The Hallé Children?s Choir will premiere the orchestral version of the full work in Manchester, UK, post-pandemic.

Medium Voice Organ Guitar and a melody instrument-John Corigliano (b. 1938) is an American composer. Wedding Song was originally written in 1971 for Oboe Voice and Organ for an oboist friend of the composer. It has been arranged for any melody instrument (Flute Oboe Clarinet Trumpet Violin etc.) medium Voice and either Guitar Organ or any other keyboard instrument. The lyrics were intended to be taken from a text by Khalil Gibran but when Gibran’s estate refused permission the American playwright editor and teacher William M. Hoffman (b. 1939) was asked to create a new text.

For Congregation (Unison Voice) and Organ. Congregational Part available: NOV954140-01

Three hymn tunes bought in line with modern sensibilities and arranged for unison voice and organ.

CHANGING VOICES CHRISTMAS is an exciting collection of Christmas carols and popular songs specifically arranged for changing or ‘cambiata’ male voices. These arrangements are intended to be sung by boys aged approximately 11 years and upwards; precisely the time when many boys give up singing as their changing voices cease to fit comfortably within traditional vocal ranges. Progressive in difficulty and ranging from classic carols to more contemporary Christmas hits the pieces in this collection are suitable for performance in both sacred and secular settings. Together they provide a dynamic and festive selection of music for boys’choral groups of all abilities. As well as the printed score this book is supported by SoundWise: eBook: a digital edition of your music to read on any device. Audio: full demonstration recordings of each piece plus accompaniment-only solo-only and rehearsal backing tracks. 'The arrangements by Ian Crawford are freely imagined bot most distinctive and novel here is the desire to provide a repertoire for teenage boys.' - Geoffrey Webber of choirandorgan.com

A useful new resource for choirs, the New Novello Book Of Short and Easy Anthems For Mixed-Voice Choirs is perfect for groups of all sizes and abilities. The pieces in this exciting collection have been carefully chosen to offer a selection of interesting contemporary works alongside older and more well-known anthems. It is recognised that many choirs have limited rehearsal time and, frequently, limited vocal resources. This collection aims to provide works that are easily and quickly learnable, with few splits in voice parts. In addition, many of the pieces in the New Novello Book Of Short and Easy Anthems For Mixed-Voice Choirs can be adapted to work as unison settings with accompaniment, or in other flexible forms. The New Novello Book Of Short and Easy Anthems For Mixed-Voice Choirs is arranged for SATB Choir, with Organ accompaniment. / Choeur Mixte (SATB) Et Orgue

Includes versions for High Medium or Low Voice (G F or E flat) with Piano accompaniment. Performance note by Gordon Stewart.Preface:The words for Panis Angelicus are from a longer hymn text Sacris Solemnis written by St Thomas Aquinas in the thirteenth century for the newly established Feast of Corpus Christi and would originally have been sung to a plainchant. César Franck set this verse of seven lines in 1872. His deep religious feelings fashioned a memorable melody one which is within the scope of all singers - its range is only a seventh and if you follow the word patterns the breathing sits comfortably. It is in its way simple and direct but with the chance to use the voice to its full. The Latin words are not hard to sing but if you prefer to perform it in English the translation conveys the essential meaning. Franck originally wrote Panis Angelicus for Tenor Cello Harp Organ and Double Bass but it slips easily into the Keyboard arrangement. The colours of the original scoring are evident the Organ's sustained chords the semi-staccato notes for the Harp and the Cello's countermelody beginning in bar 38 (which could be transferred to another melodic instrument if that suits the occasion). Some discreet repetition of the long tied notes and doubling of the bass at the octave can give the Piano more resonance. The accompaniment probably works best with a minimum pedalling and an Organist's style of fingering. The dynamics ask for a triumphant final statement of the words 'pauper servus' in bar 53. It makes complete musical sense to make a diminuendo for the word 'humilis' in bar 56 leading to a thoughtful postlude.