Renaissance Choral Music

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

This secular collection is a fantastic resource for experiencing the music of the Renaissance. The six well-known and representative works are: April Is in My Mistress' Face (Thomas Morley) Bonjour mon coeur (Orlando di Lasso) Innsbruck I Now Must Leave Thee (Innsbruck ich muss dich lassen) (Heinrich Isaac) Je le vous dirai (Pierre Certon) Music Most Wondrous Lovely Art (Johann Jeep) What If I Never Speed (John Dowland).Available separately: SATB a cappella.

Morten Lauridsen is most noted for his vocal cycles and sacred motets which are performed extensively throughout the world. He is Professor of Composition at the USC Thornton School of Music in the United States. The Madrigali: Six ‘Fire Songs’ on Italian Renaissance poems were premiered in Los Angeles in 1988. Each of the six poems in the cycle contains romantic references to fire and the music is unified by manipulations of a sonority called the ‘Fire-Chord’ which opens the piece and is found extensively throughout. Whilst the pieces are contained in a cycle each piece could be performedindividually. Translations of the poems are provided. The Choral Programme Series is now a well-esatablished programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles. Also offering great value for money as each volume in the series provides up to forty minutes of music

A collection of twenty-nine pieces for Mixed Voice Choir (with and without accompaniment) covering the time from early Renaissance to the late Twentieth Century. Most songs are in English though much of the sacred music has the option to be performed in Latin if required.

Renaissance composer Orlando di Lasso used this Latin text for one of his works and Lee quotes this musical motive in this new and contemporary composition. The text speaks to the power of music to calm angry souls and uplift sadspirits to even move the very trees and the wild beasts. This work and the di Lasso would make excellent companion pieces on a concert. Duration: ca. 5 minutes 40 seconds.

La renommée de Carl Maria von Weber repose principalement sur , Der Freischütz '. Le succès sans précédent de cet opéra éclipsé tous ses autres travaux et a contribué à leur chute de plus en plus dans l'oubli . Certains travaux tels que , Preciosa ', , Oberon , et , Euryanthe ' , les ouvertures, concertos en solo et sonates pour piano , des lieder et chambre oeuvres jouissent d'une grande popularité et ont été largement connus en Allemagne et à l'étranger aussi tard que la deuxième moitié de la 19ème siècle . Cependant , toute chance d'une renaissance de Weber et influentoeuvre considérable a été perdu dans les années 1920 , quand une édition complète - commencé par Hans Joachim Moser et avec les contributeurs potentiels, y compris Wilhelm Kempff , Hans Pfitzner , Max von Schillings , Fritz Stein et Richard Strauss - a échoué après le troisième volume .Depuis , il ya eu de nombreuses tentatives pour relancer une édition complète des oeuvres de Weber , mais que ce genre de projet , il aurait fallu la collaboration de chercheurs des deux côtés de la frontière inter- allemande , la situation politique après 1945 n'était pas propice à une telle entreprise . Négociations approfondies ont conduit aux premières mesures concrètes dans les années 1980 . L'intention , dès le début , était de placer l'oeuvre de Weber dans son contexte, et ne pas se séparer de sa production musicale de son travail influent comme un écrivain , critique et organisateur dans le domaine musical , mais de publier ses compositions avec ses lettres, journaux et d'autres la production littéraire comme le meilleur moyen de documenter la fertilisation croisée entre ses activités musicales , littéraires et pratiques .Depuis la réunification des deux - groupes de travail allemands concernés - à la Staatsbibliothek zu Berlin , et au Séminaire Musikwissenschaftliches , Detmold / Paderborn - ont coopéré sur l'édition complète des oeuvres musicales ( c. 45 volumes de la série 10 : sacré musique - cantates , des odes et des autres travaux occasionnels- oeuvres scéniques , lieder et des oeuvres vocales - oeuvres orchestrales , musique de chambre , musique pour piano - réductions pour piano - Miscellanea , arrangements et orchestrations , des oeuvres d' attribution douteuse ) . Les journaux (6-8 vol.) Sont édités à Berlin et les lettres (8-10 vol.) Et d'autres écrits ( 2 vol. ) À Detmold .Cette édition complète vise à constituer une base fiable de débat scientifique , ainsi que pour la pratique de la performance authentique de la musique de Carl Maria von Weber . Conforme aux normes d'éditions historico-critiques récentes , le matériau textuel sera basé sur les sources authentiques disponibles , accompagnés par une documentation détaillée de la genèse et une liste de variantes pour chaque travail . L'importance musicologique des travaux sera évaluée en les plaçant dans leur contexte historique , la présentation de leur genèse , l'histoire et les commentaires critiques . Les lettres , les écrits et les journaux seront considérés comme interdépendants et pertinente à l'autre dans les commentaires , donc les lecteurs devraient bénéficier d'une foule de renseignements concis et renvois . / Choeur Mixte (SATB) Et Instruments Divers

30 Sacred Masterworks presents a wealth of invaluable original repertoire for Upper Voice choirs selected and edited by Judith Blezzard.Part of Faber Music's acclaimed Choral Programme series this practical resource features many new performance editions from Medieval to Modern Renaissance to Romantic.A vibrant and versatile collection that will cater for services concerts and events throughout the year.

The short motet is scored for four Voices SSSA or SSST or TTTB unaccompanied and displays Palestrina’s gift for transcendent solemnity.Palestrina is one of the towering figures of late Renaissance church music whose polyphoniccompositions remain actively performed in the Choral repertoire. He composed more than 250 motets. This one Alma Redemptor Mater for four Voices is not known to have been published during his lifetime but has been found inmanuscript form in the Collegio Romano in Rome. In 1545 the Council of Trent set out to reform various practices in the Roman Catholic Church in defense of the threats of the new Protestant movement. Clarity of scriptural wordswas one of the issues at stake especially as the polyphonic style of which Palestrina was a master overlaid many Vocal lines creating complex textures. It is possible that this motet was written following the new guidelinesof the Council.

In Bright Mass With Canons the canonical motifs are present right from the beginning and carry through almost every bar of the work.There are echoes of early English Choral writing and abstracted sections with flurries of sound interspersed with more Choral writing all in the most modern idioms. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated with artists such as PhilipGlass Björk and Sigur Rós.In the December 2014 edition of Organists' Review Christopher Maxim writes that 'the vocal writing frequently evokes Renaissance polyphony' and 'the language is fresh and contemporary with much zest being added by the organ part.'

Here is a fantastic resource for introducing the music of the Renaissance to developing ensembles or groups with limited male singers. Purchase the Performance Kit and receive a code to access audio tracks online through My Library. The six works by Thomas Weelkes featuring optional percussion are: Come Let's Begin Four Arms Two Necks One Wreathing Late in My Rash Accounting The Nightingale Since Robin Hood Strike It Up Tabor.

Looking for something absolutely extraordinary? This exciting adventurous piece sets an unusual Latin text to music that ranges in style from renaissance dance to shimmering chorales to chant and in texture from unison to an expansive eight parts. Requiring highly developed musicianship this work is sure to become a memorable concert highlight. SSAATTBB A Cappella. Duration: ca. 7:00

One of the most recognized anthems from the English Renaissance in a new adaptation specifically geared to the limits of younger voices and middle school choirs. Intimate and expressive this would work well in both concert and worship settings and provides a great way to introduce young singers to historical choral works. Available for SSA and 3-Part Mixed.