Seven Organ Chorales

'Seven Anthems' includes seven of Edward Elgar's most popular works. Six are arranged for SATB and Organ accompaniment while one more is arranged for SA and Organ accompaniment. Works included are: Doubt not thy Father’s care (SA) from The Light of Life  Fear not O land (SATB) Harvest Anthem  Light of the world we know thy praise (SATB) from The Light of Life  Light out of darkness (SATB with divisions) from The Light of Life  O hearken Thou (SATB with divisions) arranged by the composer from the Coronation Offertorium  The Spiritof the Lord is upon me (SATB)from The Apostles and They are at rest (SATB unaccompanied)    

As publishers and musicians ourselves we understand the financial restraints faced by many choir directors. Even if you use just one of the pieces in the set you are paying only the usual price of a single choral piece. If youuse two you're getting double value and if you use three four five or more you're quids in! Music For Organ: Joyful Music - Set 1 includes seven pieces for the Organ: Easter Alleluia (Colin Mawby) Lord of Majesty (Richard Lloyd) Lumen Christe (Noel Rawsthorne) Marche-Sortie (Théodore Dubois) Postludio Festivo (Sigfrid Karg-Elert) Resurrexit! (Andrew Gant) and Toccata fromSuite Gothique (Léon Boëllmann).

Charles Villiers Stanford was an Irish composer music teacher and conductor. Stanford composed a substantial number of concert works including seven symphonies but his best-remembered pieces are his choral works for church performance chiefly composed in the Anglican tradition. Admitted to Queens College Cambridge with an Organ scholarship Stanford had written a substantial number of compositions including vocal music both sacred and secular and orchestral works before getting involved with the university’s Musical Society. While still an undergraduate Stanford was appointed organist of Trinity College Cambridge.Part of the‘Four Intermezzi Op. 189’ Intermezzo On An Irish Air for Organ is based on the melody of the well-known ‘Londonderry Air’. The traditional Irish tune was first collected in the mid 19th century by Jane Ross and is recognised all around the world by the Irish Diaspora. Duration ca. 6:20.

As publishers and musicians ourselves we understand the financial restraints faced by many choir directors. Even if you use just one of the pieces in the set you are paying only the usual price of a single choral piece. If youuse two you're getting double value and if you use three four five or more you're quids in! Reflective Music - Set 1 includes seven pieces for the Organ: Adagio (ma non troppo) (John Stainer) Allegretto Tranquillo (Alexandre Guilmant) An Evening Meditation (Stanley Vann) Pastorale (Elizabeth Hill) Reflection (Charles Wood) Reflection (Colin Murphy/Andrew Wright) andThe Angels' Song (Charles Villiers Stanford).

Par REGER MAX. The seven chorale fantasias by Max Reger are among the most important of organ repertoire ? masterpieces blending chorale melody and programmatic music based on the text of the chorales. Published on the occasion of the composer's 150th birthday, this fundamentally revised Urtext edition, in two volumes, is edited by the internationally renowned organist and Leipzig professor of organ Martin Schmeding. As one of the most influential Reger interpreters, Schmeding not only includes the latest research, but also addresses the need for a contemporary interpretation of the chorale fantasias on modern organs. The edition includes all the original dynamic and agogic indications (including continuation lines to cresc., etc., which are missing in many modern editions), as well as all the original registration and manual indications. Martin Schmeding's new edition provides for the first time an original musical text that combines the requirements of a modern Urtext edition with the demands of a practical edition. / Date parution : 2023-08-12/ Recueil / Orgue

Arthur Mills (b. 1926) is a British organist composer and academic whose compositions span seven decades from 1958 to the present day. He was Director of Music at Ely Cathedral from 1958 to 1990 and a Professor of the Royal Academy of Music from 1964 to 1992.  His setting of the Missa Brevis was first written in 1960 and dedicated to Christopher Campling who at the time was a canon of Ely Cathedral. It was revised in 1964 when the Gloria was added. It is scored for Unison Voices with Organ Accompaniment.

Chaque exercice de cette précieuse ressource est conçu pour renforcer les concepts fondamentaux vocales pour choristes et solo de n'importe quel âge. Organisé en 11 catégories ciblées, le but de chaque échauffement est évident, et clairement indiqué directions d'optimiser la croissance. Soutien accompagnements de piano, y compris les modulations progressives, sont légèrement orchestrées sur l'enregistrement clos --- parfait pour les répétitions d'ensemble, des leçons de studio, ou la pratique à la maison. Comme un bonus supplémentaire, les fichiers PDF sur le CD améliorés fournissent des extraits lignes vocales sur les pages chanteur reproductibles. Un livre pédagogique que vous utiliserez encore et encore! Sujets abordés commençant warm-up, la posture, les voyelles, le soutien de la respiration, de la qualité de ton, la diction, la dynamique, les articulations, les diphtongues, mélange, gammes, intervalles, l'harmonie, et plus encore. / Choeur

Like the Littlemore Tractus Pärt's setting of the Salve Regina has an extended hymn-like feel to it. Typically it builds very gradually to a late majestic climax - unison vocal lines at the outset broader harmonies later some intriguing eccentricities in the organ part along the way. It was the wish of Hubert Luthe Bishup of Essen Cathedral that this particular text be set in honour of the building's priceless golden Madonna. The premiere was in May 2002 to mark both the Bishop's seventy-fifth birthday and Essen's own 1150th anniversary.

English version by Nathan Haskell Dole. For SATTB Choir (Mixed Voices) and Organ with incidental Soprano Alto Tenor Baritone and Bass Soli.

Such beautiful words deserve to be set to equally beautiful music and here the textures unfold and the piece blossoms from bar one to the end. Starting in two parts and organically growing to seven the music is designed to lift the hearts of all that perform and hear it. A new work for a new day.

A meditation based on the traditional Seven Last Words of Christ-Wondrous Cross is a reflective work suitable for church or concert choirs at Passiontide. Bullard skilfully weaves the traditional Seven Last Words of Christ with linking biblical passages 3 well-known hymns and settings of 4 well-known sacred texts including 'Drop drop slow tears' and 'Ave verum corpus' (both of which may be sung as independent motets) to create a moving and at times dramatic work. The short solos are perfectly suited to members of the choir and strings (quartet quintet orensemble) may optionally join the organ or piano in the accompaniment. If performed liturgically the work may be interspersed with prayers and readings. The result is a flexible and striking work that re-presents this timeless story for a modern audience. String parts and full scores are available to hire or purchase from the Music Hire Library.

This reflective Lenten cantata by Christopher Tambling is scored for SATB choir with organ accompaniment and with optional soprano and tenor solos. It incorporates three well-known congregational hymns and provides someopportunities for a cappella singing by the choir. Each of the choral movements may be used on its own providing the choir with seven new anthems for the repertoire. Hail Redeemer runs forabout 25 minutes.

Hinshaw offers three arrangements of this favorite: one with harp one a cappella and this one with seven verses organ and optional brass.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.