Beatus Vir Vocal Score

Antiphons, psalms and hymn for soloists and double choir. The score is written for 3 Tenor Trombones, 1 Bass Trombone and strings with basso continuo. Edited by Denis Stevens, with piano accompaniment. / Orgue

James Whitbourn's Beatus Vir for SSATB choir with a Piano accompaniment for rehersal. Commissioned for the Choir of St Matthew’s Church Northampton. First performed on StMatthew’s Day 21 September 2017 conducted by Justin Miller. 'With the wedding season soon to be upon church musicians James Whitbourn’s new five-minute wedding anthem  Set me as a seal upon thineheart deserves a warm welcome. It would be easy to learn quickly if rehearsal time is limited with vocal lines that are not demanding and helpfully supported by the organ. But the music itself has a haunting intense beauty thatis very special. Judge for yourself with the performance on YouTube that appears to have been made at the wedding for which it was written. St Matthew Northampton for which Walter Hussey commissioned so notably continues an enterprising music commissioning policy most recently with Whitbourn’s setting of Beatus Vir. The commission was for the feast day of St Matthew last September and the published score describes the text asbeing the Gradual for St Matthew. But that rather limits what is simply the first two verses of Psalm 112 and deserves to be sung throughout much of the church year. Forget Monteverdi and other lively settings of Beatus vir:here we have a contemplation on how blest is the person who trusts in the Lord. Despite a dramatic outburst on ‘potens in terra’ (‘mighty in the land’) the work ends as it began with an extended gentlesetting of the word ‘Beatus’.' - Sunday by Sunday

We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts two violins two clarini kettledrums basses (violoncello double bass and bassoon) three trombones and organ.They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxology atthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893) vocal score (BA4893-90) available for sale

The third chorus from Vivaldi's Beatus Vir produces an atmosphere of floating transparencyAlso available: Beatus Vir (HMC177) Paratum Cor Ejus (HMC180) and Gloria Patri (HMC178)

We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts two Violins two Clarini Kettledrums Basses (Violoncello Double Bass and Bassoon) three Trombones and Organ.They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms anautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894) vocal score (BA4894-90) available for sale

Paperback-William Mundy's Beatus Et Sanctus/Sive Vigilem for SAATB unaccompanied.This edition reconstructs two breathtaking motets. The text by St Francis of Assisi incorporating the phrase 'we do not know the day or the hour when the Lord will come' is appropriate for the end of the Church Year and during Advent. These elegant straightforward settings are within the abilities of most church choirs.