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Choral SATB
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William Belen: Mi Nino Campesino: SATB: Vocal Score
Choral SATB
[Vocal Score]
Fred Bock Music Company
Mi Nino Campesino
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Hans, Mach Dampf! (SCHINDLER PETER)
Choral SATB
[Sheet music]
Carus Verlag
Par SCHINDLER PETER. Von St. Ottilie nach Posemuckel und weiter bis tief in den ...
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Par SCHINDLER PETER. Von St. Ottilie nach Posemuckel und weiter bis tief in den Urwald? „Hans, mach Dampf!“ ist eine Abenteuergeschichte zum Vorlesen und Mitlesen, zum Anschauen und Anhören, zum Mitsingen und Mitspielen. Das ideenreich und farbenfroh von Wolfgang Slawski illustrierte Bilderbuch mit Noten und CD nimmt schon Kinder ab 3 Jahren mit auf die Reise. Auf der beiliegenden Hör-CD werden die 15 fetzigen Songs der Kindermusical-Erfolgsautoren Peter Schindler/Christoph Mohr [„Max und die Käsebande“, „Geisterstunde auf Schloss Eulenstein“] von den Calwer Aureliussängerknaben frisch und ungekünstelt umgesetzt, begleitet von einer hochkarätigen Jazz-Combo, die auf akustischen Instrumentenmusiziert./ Répertoire / Choeur Mixte
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Steve King: The Shepherd's Lamp Carol: Mixed Choir a Cappella: Vocal Score
Choral SATB
[Vocal Score]
De Haske Publications
This simple strophic carol connects the light from the shepherd's lamp at the st...
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This simple strophic carol connects the light from the shepherd's lamp at the stable door to the light that Jesus shines on the pathway of the believer. On the final verse it grows to a glorious high point then fades to a prayerful conclusion.
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John Leavitt: Keep Your Lamps: Mixed Choir a Cappella: Vocal Score
Choral SATB
[Vocal Score]
Hal Leonard
Keep Your Lamps
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Ronald Corp: Never Weather-Beaten Sail: SATB: Vocal Score
Choral SATB
[Vocal Score]
Stainer and Bell
Among the UK's most noted choral composers and conductors Ronald Corp does not ...
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Among the UK's most noted choral composers and conductors Ronald Corp does not hesitate to bring his own musical vision to a much-loved poem by the sixteenth-century lutenist songwriter and 'Doctor of Physick' Thomas Campion following the example not only of Campion himself but also of Charles Wood and Hubert Parry. Eschewing the manner of Parry's resonant polyphony for a simple harmonised setting in a flexible verbal rhythm reflecting the measure of the words this is a heartfelt plea for spiritual release uttered in a quietly elegiac tone in which the serenity of the entreaty rather than its pathos is to the fore.
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Beethoven's Greeting (SPARKE PHILIP)
Choral SATB
[Score and Parts]
-
Intermediate/advanced
Anglo Music
Fantasy on the canon Freu' dich des Lebens. Par SPARKE PHILIP. Partitions pour C...
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Fantasy on the canon Freu' dich des Lebens. Par SPARKE PHILIP. Partitions pour Choeur à quatre voix (SATB) - 25 ex. L’année 2008 marque le 400e anniversaire de la fondation de la ville de Québec (1608-2008) au Canada. Pour célébrer cet événement, la Musique des Voltigeurs de Québec, une unité d’infanterie de la force terrestre des Forces canadiennes, a fait appel au compositeur Philip Sparke pour l’écriture de deux oeuvres de concert (disponibles sur un compact disc édité spécialement pour cette occasion). Philip Sparke a composé Sounds of the Saint Lawrence (Échos du Saint-Laurent), une suite de chants traditionnels québécois, et cette fantaisie libre sur le canon Freu’ dich des Lebens de Ludwig van Beethoven. L’histoire de ce canon est absolument fascinante. En 1822, Théodore Frédéric Molt, un professeur, auteur, pianiste et organiste allemand - ancien soldat dans l'armée napoléonienne ayant combattu à Waterloo - arrive à Québec. En 1825, il retourne en Europe afin de parfaire sa formation. Au cours de son séjour, il rend visite à Beethoven. Quelques jours plus tard, il fait parvenir une lettre au compositeur sourd en incluant une feuille blanche sur laquelle il lui demande d'écrire « du fond de son grand coeur » un souvenir « qui restera pour moi, à une distance qu'il me faudra presque 3000 heures pour parcourir, un document éternellement précieux. »Beethoven accepte et, le 16 décembre 1825 (jour de ses cinquante-cinq ans), il présente à Théodore Molt le canon Freu’ dich des Lebens Le manuscrit est actuellement conservé dans une collection canadienne. Beethoven’s Greeting (“La signature de Beethoven”) débute avec une introduction lente basée sur le canon. S’ensuit un Vivo qui sera repris ultérieurement sous la forme d’un déchant à la mélodie du canon. Le thème du canon est chanté par le choeur à quatre voix (SATB) optionnel (AMP 243-050), mais la mélodie est également présente dans l’orchestration. / Niveau : 4 / Pièce de concert / Recueil / SATB
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The Fifty-Ninth Street Bridge Song - Feelin' Groovy
Choral SATB
SATB, Piano
Novello & Co Ltd.
Appearing on their classic 1966 album, Parsley, Sage, Rosemary and Thyme , Simon...
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Appearing on their classic 1966 album, Parsley, Sage, Rosemary and Thyme , Simon and amp - Garfunkel's The 59th Street Bridge Song (Feelin' Groovy) is one of the duo's most best loved and covered songs. Originally written by Paul Simon, this SATB arrangement with piano accompaniment is a light yet engaging piece, perfect for both beginner choirs and more experienced ensembles. / Choeur Mixte (SATB) Et Piano
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Triptych (Vocal Score)
Choral SATB
SATB, Orchestra
Novello & Co Ltd.
Cantata for string orchestra and chorus. Triptych represents the concatenation a...
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Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes
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Upon A Bank With Roses Set About
Choral SATB
Novello & Co Ltd.
The third of a set of four madrigals on rose texts, 'Now Sleeps the Crimson Peta...
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The third of a set of four madrigals on rose texts, 'Now Sleeps the Crimson Petal', for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir, University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir, conducted by Michael Bawtree on October 28th, 29th and amp - 31st 2010. / SATB
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An English Christmas (SPARKE PHILIP)
Choral SATB
[Score and Parts]
-
Intermediate
Anglo Music
Par SPARKE PHILIP. Cette référence (AMP 225-050) correspond aux parties de Cho...
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Par SPARKE PHILIP. Cette référence (AMP 225-050) correspond aux parties de Choeur à quatre voix. Le texte est en anglais.' La plupart des traditions de Noël en Angleterre sont relativement récentes. Montée sur le trône en 1837, la reine Victoria (née de Hanovre) régnera jusqu'à sa mort en 1901. En 1840, elle épousa son cousin, le prince Albert de Saxe-Cobourg-Gotha. Le prince consort, originaire d'Allemagne, importa bon nombre de traditions de Noël allemandes au Royaume-Uni. Ainsi, il fit découvrir aux Anglais la coutume du sapin et les cartes de Noël, entre autres, contribuant largement au Noël typiquement anglais tel que nous le connaissons aujourd'hui.Bien que les chants de Noël font l'objet d'une longue tradition en Angleterre, de nombreuses mélodies que nous chantons proviennent du continent européen ou des Etats-Unis. Je savais bien que le célébrissime Silent Night (Douce nuit) était d'origine autrichienne et que Hark, the Herald Angels Sing (Ecoutez le chant des Anges) était d'origine allemande. Pourtant, quelle ne fut pas ma surprise d'apprendre qu'Away in a Manger (Sur la paille fraîche) ou encore We Three Kings nous venaient des Etats-Unis et que Ding, Dong Merrily on High était un noël d'origine française. Quoiqu'il en soit, j'ai réussi à constituer un canevas de mélodies anglaises pour réaliser ce festival de chants de Noël. 'Philip Sparke / Niveau : 3 / Recueil / SATB Accompagnement
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Judith Weir: Praise Him With Trumpets: SATB: Score
Choral SATB
SATB, Organ
[Sheet music]
Chester
This is the score for Judith Weir's Praise Him With Trumpets a work for 2 Trump...
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This is the score for Judith Weir's Praise Him With Trumpets a work for 2 Trumpets SATB Choir and Organ. Commissioned by Historic Royal Palaces in collaboration with The Choral Foundation the piece wascomposed for the Hampton Court Chapel Royal Choir in celebration of Hampton Court 500. A setting of text from Psalms 146 and 150 this work can also be performed without Trumpets. A review in the May/June 2016 edition of'Choir & Organ' magazine states that 'the work has all the hallmarks of this composer's cliché-free yet immediately appealing style.
5.50 GBP - Sold by Musicroom UK
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Giles Swayne: The Tiglet: SATB: Vocal Score
Choral SATB
SATB
[Vocal Score]
Chester
Written by Giles Swayne in 1995 based around the poem ' The Tiger' by Willi...
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Written by Giles Swayne in 1995 based around the poem ' The Tiger' by William Blake . The work is for SATB choir and SSSATB soloists. A separate line for hands and feet is included on the score with fingerclicking and foot stomping adding to the percussive feel of the work.This is the full score showing all vocal parts and the body percussion line. ...African influences are also felt in Swayne’s Blake setting The Tiglet which bristles with foot stamping finger clicking and sharp vocal projectiles... Robert Levett International Record Review 01 February 2007The Tiglet (part of Swayne's work The Tiger) features some 'wild syllabic interjections half sung and half shouted' which have to be heard to be believed!Church Music Quarterly 01 December 2006 Listen to a sample here
3.99 GBP - Sold by Musicroom UK
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Christmas Carols Of The World (HEMPFLING VOLKER)
Choral SATB
SATB, Piano
[Sheet music + CD]
Carus Verlag
Chorbuch + CD / Choral Score with CD. Par HEMPFLING VOLKER. Christmas is celebra...
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Chorbuch + CD / Choral Score with CD. Par HEMPFLING VOLKER. Christmas is celebrated throughout the world - sometimes at the end of December, sometimes at the beginning of January. And everywhere, singing Christmas carols is part of the celebrations. Some carols, such as Adeste fideles or Stille Nacht are sung throughout the world, but many countries have their own particular carols which reflect their own customs and traditions. These Christmas carols from all over the world feature in the latest instalment of the LIEDERPROJEKT which is published in autumn 2015. The new choral anthology Christmas carols of the world will enrich the Christmas repertoire for choirs, with lots of exciting choral arrangements of a selection of 85 international Christmas carols. It is edited by Volker Hempfling and contains arrangements by composers from 23 countries in their original languages, including John Rutter, John Høybye, Mark Sirett, Wolfram Buchenberg, Matti Hyökki and Fredo Jung. The settings for mixed choir a cappellare extremely varied, ranging from easy to difficult. Some have accompaniment for keyboard instrument. A CD with samples from the book sung by the Calmus Ensemble Leipzig and the Athesinus Consort Berlin is included to the director's score./ Répertoire / Choeur Mixte (SATB) et Piano
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Cheryl Frances-Hoad: So True A Fool Is Love: SATB: Vocal Score
Choral SATB
[Vocal Score]
Cadenza Music
Cheryl Frances-Hoad's So True A Fool Is Love for SATB.Dedicated to Dominic Peckh...
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Cheryl Frances-Hoad's So True A Fool Is Love for SATB.Dedicated to Dominic Peckham and the London Oriana Choir. Commissioned as part of the five15 project championing women composers.Duration: 4 minutes
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Cheryl Frances-Hoad: The Tym Is All Ronne: SATB: Vocal Score
Choral SATB
[Vocal Score]
Cadenza Music
Cheryl Frances-Hoad's The Tym Is All Ronne for SATB choir a cappella. For Domin...
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Cheryl Frances-Hoad's The Tym Is All Ronne for SATB choir a cappella. For Dominic Peckham and The London Oriana Choir at Christmas Commissioned as part of the five 15 project championing women composers.
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La Voz Latina
Choral SATB
[Sheet music + Audio access]
Peters
Choral Music From Latin America - Vol. 1. A collection of 14 vibrant choral piec...
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Choral Music From Latin America - Vol. 1. A collection of 14 vibrant choral pieces from Cuba, Colombia, Venezuela, Ecuador and Brazil. Covering a range of styles from cumbia to Cuban son, this music is full of the characteristic rhythms and melodies which capture the unique vitality of Latin America. With background information, translations and pronunciation guides, enabling performers to immerse themselves in the atmosphere of Latin music, this collection provides a great addition to the repertoire for any choral concert. A varied collection of mostly secular music, with some sacred pieces and carols Easy to advanced level Includes introductions to the songs, translations of all texts Audio samples for many of the pieces available online/ Recueil / Choeur Mixte SATB
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Alan Rawsthorne: Kubla Khan: SATB: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SAT...
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Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SATB to words by Thomas Campion.This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies exquisitely tempered with modal effects.Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest Viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small comprising about 90 works but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often playedand recorded and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career from her earliest attempts at composition around 1906 to her final flowering in the 1940s revising and recomposing until as late as 1976.
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Greg Jasperse: New York VoiceDance: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
If you have enjoyed Greg Jasperse' VoiceDance series you will love this new add...
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If you have enjoyed Greg Jasperse' VoiceDance series you will love this new addition written for the all-camp choir at the New York Voices Vocal Jazz Camp. A dance of joy and celebration this new VoiceDance givesthe opportunity for improvisation and percussion with Greg suggests several ways to perform the piece making it adaptable for different choirs and performance times. Stunning in its creativeness and choral excellence. Available:SATB a cappella. Duration: ca. 4:54.
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Sergei Rachmaninov: All-Night Vigil Opus 37: SATB: Vocal Score
Choral SATB
[Vocal Score]
Novello & Co Ltd.
Rachmaninoff?s music for the All-Night Vigil service ? long known inaccurately a...
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Rachmaninoff?s music for the All-Night Vigil service ? long known inaccurately as his ?Vespers? ? is a masterpiece in its own right. It draws on centuries-old Orthodox chant and the performance tradition of Russian folk music and embodies the ideal of Russian church music championed by a group of Moscow musicians of the time. In this All-Night Vigil the great composer-pianist-conductor has allied his own imagination skill and experience with the expertise built up at the Synodal School of Church Music ? not least by its choir which gave the first performances at several Moscowconcerts. This edition has been carefully prepared to present Rachmaninoff?s music in a clear and easily readable format and also offers a new transliteration of the Church Slavonic text. For the first time an audio pronunciation guide is provided online which will prove indispensable for choirs wishing to perform this most beautiful of masterpieces. In the November/December issue of Choir
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Howard Goodall: In Memoriam Anne Frank.: SATB: Vocal Score
Choral SATB
SATB divisi
[Vocal Score]
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Intermediate
Faber Music Limited
The Faber New Choral Works series sets out to introduce a wealth of new or recen...
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The Faber New Choral Works series sets out to introduce a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series aims to draw in a rich diversity of living composers and will include both lighter and more challenging contemporary works offering a thrilling array of varied styles.In Memoriam Anne Frank was written to commemorate the 50th anniversary of Anne Frank's death in Bergen-Belsen concentration camp just six weeks before the Nazi surrender in 1945. This moving choral tribute is elegiac in mood but like Anne's inspirational diary also exudes warmth and gentleness.Composed byHoward Goodall available here is the Vocal score of his emotive and moving work In Memoriam Anne Frank for SATB (divisi) Choir with Piano accompaniment.
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Gilles: Messe Des Morts -Requiem: SATB: Vocal Score
Choral SATB
[Vocal Score]
Leduc, Alphonse
Soli-Choeur - Satbb-French composer Jean Gilles (1668-1705) received his musica...
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Soli-Choeur - Satbb-French composer Jean Gilles (1668-1705) received his musical training as a choirboy in Aix-en-Provence. His substantial works are entirely religious Messe Des Morts being no exception. Gilles catalogue comprises a significant amount of choral work. His choral composing style often alternate passages sung by soloists and the chorus as is the case in Messe Des Morts realised by Laurence Boulay. His musical style was influenced by André Campra a leading Opera composer of the day who Gilles succeeded as music master at the Cathedral of Saint Etienne in Toulouse. Forall choirs seeking alternative repertoire Messe Des Morts provides a riveting performance.
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John Rutter: When Icicles Hang: Mixed Choir: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
A cycle of choral settings with words by Campion and Shakespeare for SATB (with...
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A cycle of choral settings with words by Campion and Shakespeare for SATB (with tenor solo) and a small chamber orchestra. This is a reduced score version.
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Michael Jackson: Heal the World: Mixed Choir a Cappella: Vocal Score
Choral SATB
[Vocal Score]
Hal Leonard
With a message that seems to become more and more important with each passing ye...
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With a message that seems to become more and more important with each passing year Michael Jackson's 1991 ballad championing the power of healing and acceptance has stood the test of time. A powerful arrangement features four soloists interweaving with the choir leading to a dynamic climax!
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Run to You: Mixed Choir a Cappella: Vocal Score
Choral SATB
[Vocal Score]
Hal Leonard
Pentatonix has championed the cause for a cappella music ever since they won NBC...
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Pentatonix has championed the cause for a cappella music ever since they won NBC's The Sing-Off in 2011 building audiences all along the way. The lyric delivery in this PTX original from 2013 allows the harmonies to swell naturally through the vocal blend for a satisfying moment in concert making the song an ideal selection for pop or concert choirs.
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I Wish It Could Be Christmas Every Day (PARRY BEN)
Choral SATB
SATB, Piano
[Sheet music]
Faber Music Limited
Par PARRY BEN. Ben Parry presents a trio of Christmas classics from the 60s, 70s...
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Par PARRY BEN. Ben Parry presents a trio of Christmas classics from the 60s, 70s and 80s. Two lively, light-hearted numbers, I'm Gonna Be Warm This Winter and I Wish It Could Be Christmas Every Day, are followed by Band Aid's compelling Do They Know It's Christmas? Arranged for accompanied SATB mixed voices. The Choral Programme Series is now a well-established programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles. Please view sample pages below. / Choral Music / Répertoire / Voix Mixtes et Piano
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David Dickau: Come O Come My Life's Delight: SATB: Vocal Score
Choral SATB
[Vocal Score]
Walton Music
Jo-Michael Scheibe Choral Series music by David Dickau-New accessible setting o...
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Jo-Michael Scheibe Choral Series music by David Dickau-New accessible setting of Campion's well-known poem exploring joy and pain resolving in the anticipation of lovers reuniting. A wonderful concert selection for high school and beyond.
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Benjamin Britten: Te Deum In C: SATB: Score
Choral SATB
SATB, Orchestra
[Sheet music]
Chester
In preparing for publication the 1935 orchestral version of Britten's Te Deum in...
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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.
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Lionel Dakers: Ash Wednesday To Easter For Choirs: SATB: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
Compiled and edited by Lionel Dakers & John Scott SATB accompanied & unaccompan...
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Compiled and edited by Lionel Dakers & John Scott SATB accompanied & unaccompanied-This wonderful collection aims to provide a comprehensive resource-book covering a highly significant part of the Church's year. Its contents span all periods of what is a marvellously rich and uniquely prolific area of church music and it contains much that is not widely available elsewhere under one cover.A major policy in compiling the contents has been to ensure that they are relevant to a broad range of musical traditions with pieces of varying degrees of difficulty to suit the needs and abilities of all choirs. The requirements of the increasing number of small choral groups as distinct from church and cathederal choirs have similarly been catered for inthe choice of material. Presents pieces in order according to the Church's calendar from Ash Wednesday and Lent to Easter with a generous number of pieces for each season or day Includes the best of the standard repertoire for example Byrd's Civitas Sancti Tui and Stainer's God So Loved The World Contains fine less familiar works and new or recent arrangements of well-known tunes such as This Joyful Eastertide Now The Green Blade Riseth and Were You There Contains a number of newly comissioned anthems from well-known church composers Includes important liturgical settings for example two versions of the Litany (BCP and ASB) Vidi Aquam and Easter Alleluias Ranges widely from the sixteenth century to the present day and across all the major traditions
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Georg Friedrich Händel: Israel In Egypt HWV 54: SATB: Score
Choral SATB
[Sheet music]
Barenreiter
Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe version...
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Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere
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Will Todd: The Christ Child: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Boosey and Hawkes
Will Todd born in 1970 is forging a strong reputation for himself as a compose...
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Will Todd born in 1970 is forging a strong reputation for himself as a composer who is equally at ease in opera oratorio church music and jazz. His style is instantly accessible and lastingly memorable. He spent his formative years steeped in both jazz and the English choral tradition so in his choral music he is able to juxtapose strong rhythmic drive and rich harmonies with exquisitely lyrical vocal lines. 'The Christ-child' is an example of Todd's writing at its most beautiful. Setting words by G.K. Chesterton slow-moving piano chords underpin sublime four-part choral textures.
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