Mass In C Vocal Score

Scored for Soprano, Alto, Tenor and Bass soli, SATB choir and orchestra. Haydn composed the Maria Theresa Mass in 1799, between the Creation and the Seasons . Revised edition by Michael Pilkington. Latin text. / Chant Et Piano

Par SCHUBERT FRANZ. Mass No. 6 in E flat major, D 950, is a mass composed by Franz Schubert. It was originally scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass and is presented in this edition as a vocal score for SATB. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis. / Urtext / Répertoire / Travaux Pour Choeurs

Facilement identifiable par son ISBN 9781844490851 cette pièce Haydn Mass In Time Of War (Missa In Tempore Belli) Vocal Score appartient à la collection désormais incontournable The New Novello Choral Edition.Composée pour Chant/Vocal/Choeur par le célèbre compositeur Haydn ce sont les éditions Novello qui on eu l'honneur d'imprimer cette partition. / Chant Et Piano / Partition

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

This exclusive collection brings together 12 of Nico Muhly?s sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly?s Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best.  'Choral music has always been at the emotional core of my musical output. Even when I?m writing large-scale orchestral works (or indeed chamber music) I alwaysfind myself returning to techniques and textures I?ve greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners? ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets and represent a decade and a half of output.' - Nico Muhly