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FUGUE
HARMONICA
Choral SATB
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Johann Sebastian Bach: Cold and Fugue Season: Mixed Choir a Cappella: Vocal
Choral SATB
[Vocal Score]
Pavane Publishing
This is hilarious! Ellen Foncannon has created a clever parody on Bach's famous ...
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This is hilarious! Ellen Foncannon has created a clever parody on Bach's famous Fugue in G Minor that will have your audience in stitches! Your students will have a blast singing such funny words with such serious Baroque music which has been simplified for young voices. From the first note to the resounding A-Choo! at the end this uproariously funny novelty is sure to be a big hit in your concert! Available: SATB SSAA TTBB 2-Part 3-Part.
22.50 GBP - Sold by Musicroom UK
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Toch: Geographical Fugue: SATB: Vocal Score
Choral SATB
[Vocal Score]
Alfred Publishing
Geographical Fugue for speaking chorus by Ernst Toch.
19.50 GBP - Sold by Musicroom UK
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Der 100 (REGER MAX)
Choral SATB
SATB divisi
Carus Verlag
Op. 106. Par REGER MAX. Max Reger?s setting of Psalm 100 is one of the ?grand st...
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Op. 106. Par REGER MAX. Max Reger?s setting of Psalm 100 is one of the ?grand style? choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger?s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over ?Ein feste Burg ist unser Gott?. The composer?s declared aim was: ?The psalm must go so brilliantly, that all will be simply ?bowled over?.? / Date parution : 2023-03-11/ Répertoire / SATB [Divisi] et Piano
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Simon Johnson: Gloria: Mixed Choir: Vocal Score
Choral SATB
SATB, Organ
[Vocal Score]
Oxford University Press
This jubilant single-movement setting of the Latin Gloria by celebrated organist...
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This jubilant single-movement setting of the Latin Gloria by celebrated organist Simon Johnson has something for everyone. Scored for SATB choir with Brass Ensemble Organ and Timpani (or Organ alone) the work is highly original and packed with content including recurring rhythmic and melodic motifs harmonic twists a peaceful central section and a four-part fugue.Johnson's Choral writing is clean and concise and more experienced singers will find the vocal lines approachable and enjoyable. The instrumental Ensemble/Organ part is integral to the work featuring short interludes driving rhythms and melodic and textural interest aswell as providing support to the voices where necessary. This exciting work holds its own among more established Gloria settings and will stand the test of time.
4.50 GBP - Sold by Musicroom UK
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Magnificat (BACH CARL PHILIPP EMMANUEL)
Choral SATB
SATB, Orchestra
[Sheet music]
Carus Verlag
Par BACH CARL PHILIPP EMMANUEL. C. P. E. Bach's nine-movement Magnificat (1749),...
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Par BACH CARL PHILIPP EMMANUEL. C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the 'Hymn to the Virgin Mary” (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive ('empfindsam”) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme./ Répertoire / Choeur Mixte (SATB) et Orchestre
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Miserere Motet Nº 10 Op. 93
Français
Choral SATB
Durand
Création : le 5 juin 2005, Festival ' Les Voix du Prieuré ', au Prieuré du Bo...
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Création : le 5 juin 2005, Festival ' Les Voix du Prieuré ', au Prieuré du Bourget du Lac par les Solistes de Lyon sous la direction de Bernard Têtu. Durée : 5 minutes ' Miserere ' est écrit à la mémoire de mon ami Olivier Greif, brutalement disparu le 13 mai 2000 à l'âge de cinquante ans. Pour rendre hommage à l'ami disparu, j'ai opté pour une mise à distance de l'émotion qui s'illustre dans le parti pris métaphorique du poème d'Olivier Dhénin autant que dans la structure musicale de ce motet, qui prend la forme d'un exercice d'écriture extrêmement contraignant puisqu'il s'agit à la fois d'une passacaille et d'une fugue. La fugue est en constant dialogue avec le thème d'une passacaille contenant trois motifs. La première exposition de la fugue est construite sur le premier motif de la passacaille, la deuxième exposition sur le deuxième motif et la troisième sur le troisième motif, le contre-sujet étant toujours le même. Ce ' tour de force ' contrapuntique souligne la parenté de cette musique avec les polyphonies de la Renaissance au sujet desquelles nous avions parfois discuté avec Olivier Greif, la pensée contrapuntique extrêmement rigoureuse de compositeurs comme Josquin, Ockeghem, Lassus, Byrd, Tallis etc? agissant comme un puissant antidote à notre fascination commune pour Gustav Mahler, Chostakovitch et Britten. ' Miserere ' n'en constitue pas moins, sur le plan harmonique, une confirmation de l'évolution stylistique qui est la mienne depuis la fin des années quatre-vingt. (Nicolas Bacri) / Choeur Mixte
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Craig McLeish: The Negro Speaks Of Rivers: SATB: Vocal Score
Choral SATB
SATB A Cappella
[Vocal Score]
Novello & Co Ltd.
Novello New Choral Series-Craig McLeish writes of The Negro Speaks of Rivers; La...
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Novello New Choral Series-Craig McLeish writes of The Negro Speaks of Rivers; Langston Hughes (1902-1967) was the first black American to earn his living from writing. He was an innovator of jazz poetry becoming part of the Harlem Renaissance in the 1920s and 1930s. He wrote plays short stories novels and his poetry was widely read. He was also a journalist columnist and lecturer. The Negro Speaks of Rivers was perhaps his earliest published work written when only 17 and while travelling by train to Mexico to visit his father. As the train crossed the Mississippi he suddenly began thinking about how rivers had impacted on Negro history particularly in the fight against slavery.The four rivers mentioned in the poem lent themselves to using musical influences from those particular regions. However I have tried to keep these links fairly tenuous to avoid overt pastiche. A few years ago I was fortunate enough to work with Congolese musicians. These sessions led to the intricate rhythms in The Congo. The Mississippi mentions New Orleans so a jazz fugue seemed the most appropriate compositional device to weave into the texture. The spirit of The Nile was gauged from many hours listening avidly to Egyptian music.Craig McLeish began his musical life as a chorister at St Paul’s Cathedral. As a bass guitarist conductor musical arranger and composer he has worked with a wide variety of groups in several genres and scored a hit with the cult pop band ‘Fat & Frantic’. He is musical director of Young Voices UK and conducts several youth and community choirs in and around Milton Keynes. Listen to an excerpt from Craig McLeish's The Negro Speaks Of Rivers:
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Antonio Vivaldi: Credo RV 591: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Carus Verlag
Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large...
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Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Piet then his primary place of employment. The composition conceived solely for choir and strings is characterized by a two-layered formal design: a continuous basic motivic idea i.e. a constant rhythmic impulse with rapid tone repetition builds an instrumental layer while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work where the text 'Et vitam venturisaeculi' is embedded in a concise fugue.
7.20 GBP - Sold by Musicroom UK
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Ch?ur de sylphes
Choral SATB
SATB, Piano
[Sheet music]
Symétrie
sur un poème d?Étienne de Jouy. Par SAINT-SAENS CAMILLE. Bien loin de constitu...
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sur un poème d?Étienne de Jouy. Par SAINT-SAENS CAMILLE. Bien loin de constituer un ouvrage isolé dans l??uvre de Camille Saint-Saëns, le Ch?ur de sylphes appartient à un petit ensemble réalisé au début de sa carrière dans le contexte particulier du concours pour le prix de Rome. Institué en 1803, supprimé dans la foulée des événements de mai 1968, ce dernier fut pendant plus d?un siècle et demi le plus convoité des prix français de composition musicale. Organisé par l?Institut, il garantissait à ses lauréats, à défaut de l?assurance d?une future carrière sans embûches, du moins l?entrée par la grande porte dans le monde artistique et quelques années de pension en Italie, à la villa Médicis. De fait, bien peu résistèrent à l?attrait de cette récompense susceptible de marquer avec éclat l?aboutissement de longues années d?études. Qu?une personnalité comme Saint-Saëns s?y soit présenté n?a finalement rien d?étonnant. Mais bien qu?appelé à devenir au tournant du siècle l?un des plus illustres représentants de l?art académique, il n?obtint jamais, malgré deux participations, le fameux premier grand prix. Le concours était alors organisé en deux épreuves distinctes : la première, éliminatoire, consistait en la réalisation d?une fugue et d?un ch?ur avec accompagnement d?orchestre sur un poème donné, la seconde en la composition d?une grande cantate pour trois voix solistes. Saint-Saëns lui-même en écrira deux, Le Retour de Virginie (1852) puis Ivanhoé (1864). C?est entre le 5 et le 11 juin 1852, pour sa première participation au concours, que Saint-Saëns composa le Ch?ur de sylphes. Favorablement accueilli, il permit au musicien d?être placé en tête des six candidats admis pour l?épreuve finale. Mais il est vrai qu?objectivement le poème proposé avait tout pour lui permettre de briller. Tiré d?un livret d?Étienne de Jouy et de Nicolas Lefebvre, Zirphile et Fleur de myrte, déjà mis en musique par Charles-Simon Catel (1818), l?extrait choisi (acte I, scène 4) était particulièrement adapté à l?exercice. En quelques pages fermement tracées, Saint-Saëns parvient à transcrire l?atmosphère merveilleuse, toute en légèreté, du monde des esprits de l?air. Sous bien des aspects, le résultat obtenu n?est pas sans rappeler le « Scherzo » du Songe d?une nuit d?été de Mendelssohn (1843), compositeur auquel il vouait un véritable culte. Certes, comme toute ?uvre de jeunesse, le Ch?ur de sylphes fut écrit sous influence. Dans la perspective du prix de Rome, le morceau avait en outre été pensé pour répondre à diverses exigences que d?aucuns dénoncèrent par principe comme passéistes. Au-delà de ces réserves un peu simplistes, l?ouvrage n?en reste pas moins un exemple abouti de la grande tradition académique française et de son idéal d?élégance et de clarté. Derrière son indéniable maîtrise de la forme et de l?écriture, l?auteur nous dévoile un travail qui, sans être révolutionnaire, recèle d?indéniables beautés. / Date parution : 2024-01-10/ Répertoire / Choeur SATB et Piano
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The Negro Speaks Of Rivers
Choral SATB
Novello & Co Ltd.
Craig McLeish writes of The Negro Speaks of Rivers - Langston Hughes (1902-1967)...
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Craig McLeish writes of The Negro Speaks of Rivers - Langston Hughes (1902-1967) was the first black American to earn his living from writing. He was an innovator of jazz poetry, becoming part of the Harlem Renaissance in the 1920s and 1930s. He wrote plays, short stories, novels, and his poetry was widely read. He was also a journalist, columnist and lecturer. The Negro Speaks of Rivers was perhaps his earliest published work, written when only 17 and while travelling by train to Mexico to visit his father. As the train crossed the Mississippi he suddenly began thinking about how rivers had impacted on Negro history, particularly in the fight against slavery. The four rivers mentioned in the poem lent themselves to using musical influences from those particular regions. However, I have tried to keep these links fairly tenuous to avoid overt pastiche. A few years ago I was fortunate enough to work with Congolese musicians. These sessions led to the intricate rhythms in The Congo . The Mississippi mentions New Orleans, so a jazz fugue seemed the most appropriate compositional device to weave into the texture. The spirit of The Nile was gauged from many hours listening avidly to Egyptian music. Craig McLeish began his musical life as a chorister at St Paul's Cathedral. As a bass guitarist, conductor, musical arranger and composer, he has worked with a wide variety of groups in several genres, and scored a hit with the cult pop band 'Fat and Frantic'. He is musical director of Young Voices UK, and conducts several youth and community choirs in and around Milton Keynes. / Choeur SATB
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Denn Dein Ist Das Reich (WAGNER RICHARD)
Choral SATB
[Sheet music]
Carus Verlag
Doxologie. Par WAGNER RICHARD. fugue by the 18-year-old Richard Wagner for his t...
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Doxologie. Par WAGNER RICHARD. fugue by the 18-year-old Richard Wagner for his teacher Theodor Weinling/ Répertoire / Choeur SATB
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Rev J. K. Alwood: Unclouded Day: SATB: Vocal Score
Choral SATB
SSAATTBB A Cappella
[Vocal Score]
Boosey and Hawkes
No. 1 from Heavenly Home: Three American Songs-This enduring gospel favourite is...
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No. 1 from Heavenly Home: Three American Songs-This enduring gospel favourite is set with a straight-forward first verse and chorus. The next two verses combine traditional bluegrass vocal style with counterpoint and fugue resulting in a crescendo of excitement.
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Johann Sebastian Bach: Mass in B Minor: SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
From the most ecstatic trumpeting orchestral jubilation of the start of the Glo...
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From the most ecstatic trumpeting orchestral jubilation of the start of the Gloria to the tender pained longing in the Soprano and Tenor duet of the Laudamus te or the unstoppable fugue of the Cum sancto Spiritu the Mass in B minor is as exhilarating to the listeners as it is exhausting to performers. This edition of the Vocal score is edited by Frank Damrosch.
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Austin C. Lovelace: Easter Song of Triumph: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
This vigorous vocal fugue sung a cappella would make a dynamic worship opener ...
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This vigorous vocal fugue sung a cappella would make a dynamic worship opener for Easter. Written in classical style the opening vocal lines imitate a trumpet fanfare. Descriptive text and evolving layers of color and texturemake this fresh resurrection anthem a true delight.
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Franz Joseph Haydn: Awake The Harp From The Creation: SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
Now in a newly engraved edition from Haydn's masterpiece oratorio The Creation ...
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Now in a newly engraved edition from Haydn's masterpiece oratorio The Creation this famous chorus celebrates the third day with a four-part fugue on the text For the heavens and earth/He has clothed in stately dress.
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Joseph M. Martin: In the Praetorium: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
from The Rose of Calvary-Uses: Holy WeekScripture: Mark 15:1-5; John 18:28-38One...
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from The Rose of Calvary-Uses: Holy WeekScripture: Mark 15:1-5; John 18:28-38One of the most dramatic pieces you will ever encounter is found in this scene from the passion of Christ before Pilate. From the powerful martialopening theme depicting the Roman inquisition to the fugue that displays the violence and cacophony of the mob's cries this anthem is unrelenting in its impact. A difficult moment to translate into music but an important momentto experience because it reminds of the price of grace!
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Johann Michael Haydn: Timite Dominum (O Fear the Lord): SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
This first publication of Michael Haydn's Timete Dominum is based on parts found...
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This first publication of Michael Haydn's Timete Dominum is based on parts found in the monastery of St. Peter's in Saltzburg. It is virtually certain that this composition was first performed on All Saints Day (November 1st) 1777. This work formed the subject of an enthusiastic letter written to Wolfgang Amadeus Mozart by his father Leopold. He reported: 'The fugues...are worked out in a masterly fashion the themes being most natural and without any exaggerated modulations or too sudden transitions'.For SATB (in English and Latin) and organ accompaniment. Edited and with English translation by Reinhard G. Pauly.
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Michael Nyman: Balancing The Books: SATB: Vocal Score
Choral SATB
SSAATTBB A Cappella
[Vocal Score]
Chester
Balancing The Books was commissioned by the swingle singers for the Bach 250th a...
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Balancing The Books was commissioned by the swingle singers for the Bach 250th anniversary celebrations. The work uses material from the C sharp Major Preludes from Bach's two books of the 48 Preludes and Fugues. This forms part of a series of new works by leading European composers. There are no words the singers use their own syllables. Scored for SSAATTBB.
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John Rutter: Banquet Fugue: SATB: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
A quirky lively and amusing piece where the main theme seems to be to eat as mu...
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A quirky lively and amusing piece where the main theme seems to be to eat as much as is possible! This show-stopping fughetta by Rutter is written for SATB and Piano Accompaniment. The piece is from The Reluctant Dragon an Entertainment originally written for the King's Singers and the City of London Sinfonia.
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Ernst Toch: Geographical Fugue: SATB: Single Sheet
Choral SATB
Faber Music Limited
'Fuge Aus Der Geographie' arranged by Ernst Toch for a speaking chorus.
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Kirby Shaw: Gastronomical Fugue: Mixed Choir: Vocal Score
Choral SATB
[Vocal Score]
Hal Leonard
This zany original speech chorus is about as close as a chorus can get to a food...
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This zany original speech chorus is about as close as a chorus can get to a food fight while performing! The creative possibilities are limited only by your appetite! Optional choreography by John Jacobson. Available: 4-Part anycombination. Performance Time: Approx. 2:00.
8.75 GBP - Sold by Musicroom UK
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