Sing Jubilate Deo

This flexible collection offers a wealth of excellent material for singing in rounds. All of the standard rounds are represented, including many by master composers as well as anonymous ones. The book is divided into three main sections: rounds with texts, rounds without texts and selected rounds in score format. In addition to a complete alphabetical index, there are separate listings of rounds with sacred texts, rounds with secular texts, rounds about animals, rounds about bells, Christmas rounds, rounds in foreign languages, lullabies, rounds about music, rounds about nature, rounds about singing and street cries. There's even an additional listing of rounds in two parts, three parts, four, five and six parts. This is one collection no music library should be without! From the Kodály Choral Concept. Includes index based on song content and teaching concepts. / Choeur Mixte

This rousing Jubilate was written in 2009 for Matthew Owens and the Choirs of Wells Cathedral. With its strong melody and rich textures and harmonies this work will prove immensely popular with all lovers of Rutter's music.

Greg Gilpin has taken a simple Latin text and infused it with rhythmic energy and excitement! “Jubilate!” lives up to its name: “Sing Joyfully!” Younger singers as well as more advanced choirs will enjoythe world beat sound and feel of this driving choral. Use it successfully as a lively concert opener or theme song for any choral organization.

Hymns songs and psalms for a new century-This outstanding collection suited especially to the Evangelical tradition of the Church of England is compiled by the Jubilate group. You will find 698 hymns psalms and worship songs here all with up to four verses setbetween the music. The ordering of material in Sing Glory is unique in design and is aimed to assist the planning of worship services. It is divided into 23 sections and separated into hymns psalms and songswithin each section those sections being: Gathering for worship Invocation Praise and thanksgiving Confessing our sins to God Assurance of God's love and mercy for us Adoration Reading fromScripture Prayers of intercession Offering our gifts and talents to God Sharing the peace and fellowship with one another Affirming our belief Celebrating Holy Communion Healing services Christian Initiation Responding to God: in faith and trust in hope and confidence in love and devotion in unity and growth in mission in serving others in conflict and endurance in commitmentand character Special occasions

Fifty Carols for Christmas and Advent. Par WILLCOCKS DAVID / RUTTER JOHN. Un deuxième recueil de 50 chants de Noël, principalement pour SATB, certains non accompagnés, et quelques accompagnements ayant pour piano, ou un organe, ou un orchestre, ou ensemble de cuivres. Beaucoup de chants de Noël sont à partir de sources traditionnelles, réarrangées: parmi les éléments composée spécialement pour ce volume sont des chants par William Walton, Benjamin Britten, Richard Rodney Bennett et William Mathias. Matériau instrumental pour la plupart des articles accompagnés est disponible à la location. Huit Chants pour cuivres pour les 5 et 8 cuivres partie (pour accompagner des chants des chorales de chants de 1 et Carols for Choirs 2) sont également en vente. John Rutter est né à Londres en 1945 et a étudié la musique au Clare College, Cambridge. Ses compositions embrassent la musique chorale, orchestrale et instrumentale, et il a édité ou co-édité plusieurs anthologies chorale dont quatre pour des volumes de Carols chorales avec Sir David Willcocks et l'Oxford Choral Classics série. De 1975 à 1979, il a été directeur de la musique au Clare College, et en 1981 il a formé son propre choeur, les Cambridge Singers. Il partage maintenant son temps entre la composition et la conduite et est recherché comme un chef d'orchestre invité pour le leader mondial des chorales et orchestres. Né en 1919, David Willcocks a commencé sa carrière musicale comme choriste à l'Abbaye de Westminster, plus tard, remportant des bourses à Clifton College et King 's College, Cambridge. Après son service de guerre, il a été élu Fellow du Collège King, et plus tard devint organiste de Salisbury et de cathédrales de Worcester, alors que la conduite des Three Choirs Festival à Worcester. Willcocks retourné à Kings College, à Cambridge en tant que Directeur de la Musique de 1957-1974, avec la première collection de ses arrangements dans le Carols pour les séries chorales d'édition en 1961. Il a été Directeur de la Musique du Royal College of Music de 1974-1984, et a été anobli en liste de la Reine du Jubilé d'argent de spécialisation en 1977. Willcocks a également mené le Bach Choir pendant 38 ans, prend sa retraite en 1998. Sir David conserve un calendrier chargé de concerts et d'enregistrements, y compris les récentes visites aux Etats-Unis, au Canada et en Europe./ Recueil / Chant

Keys for the Kingdom is a fully-graded piano pieces series designed especially for the Christian student. While learning the basic concepts of piano playing, the student is introduced to many styles of sacred music: the wealth of great hymnody, songs and psalms of the church, as well as great classics in piano literature that every student needs to excel in musical study. The multi-key, stylistically diverse series introduces basic concepts of rhythm, intervals, scales, chords, music theory, artistry and improvisation. Each method book establishes a gradual, steady pace for the developing student. Calling on decades of teaching experience, the authors have fashioned new ways of reaching proven concepts. Performance Book Level B includes 22 songs: Alleluia! Alleluia! · Blest Be the Tie That Binds · The Donkey · Jubilate Deo · O for a Thousand Tongues to Sing · Rise and Shine · Tears of David · Wedding at Cana · and more.

The lesser known of Britten's settings of Psalm 100. Jubilate Deo was intended as a companion piece to the Te Deum in C, and is an exuberant, joyful sing. The piece remained unpublished until after Britten's death.

Let There Be Jubilant Praise practically sings itself and makes a great call to worship or anthem selection. This general praise song is immediately engaging and is as pleasing to hear as it is to sing. A real winner! Includedon LiteTrax Accompaniment CD (MD5619). Supports: Psalm 68:25 Psalm 149:3 Psalm 150 1 Chronicles 13:8

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVALDI ANTONIO. RV 588 is Vivaldi’s ‘other’ Gloria, a composition having many parallels with Vivaldi’s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction

For SATB chorus and Organ commissioned for the Choir Schools’ Association conference 2008 originally for upper voices.'With Latin words from Psalm 66 (the translation is at the top of the score!) the lively andrhythmic setting of Jubilate Deo by James Whitbourn for SATB would thrill any choir especially a school choir and indeed this is an adaptation of the setting the composer made in 2008 for upper voices written for the ChoirSchools’ Association. Rhythmic yet with straightforward harmonies and a lively organ accompaniment there is enough challenge to keep the interest of singers and a nimble fingered organist under a competent conductor. Thisexciting piece will thrill the singers and audience!'    - Sunday by Sunday (RSCM)