The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice.Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The?Kyrie? RV 587 (BA 8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.- Effective arrangements for female choir- Forewords in English and German- Straightforward idiomatic piano reductions- Kyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

Rollo Dilworth Choral Series-Kevin A. Memley's The Time Of Roses for SSAA choir a cappella. This buoyant madrigal-like setting of the Thomas Hood text offers a wonderful opportunity for choirs to practice light andarticulate singing. There is wonderful contrast between the lively passages and lyrical legato sections.

Bells are associated with the holiday season as well as celebratory and inspirational tributes and events. This song will be your favorite choral imitating the ring and sound of bells. Polyphonic and homophonic sections play offeach other and add to the diverse sound. An optional section allows two choirs to sing together in both musical styles. Simplistic singing builds to majestic singing then fades away like bells in a steeple chiming in fallingsnow. Now two-part ensembles can enjoy this memorable choral with an optional piano accompaniment. What cannot be sung by the two voices is now provided by the piano accompaniment. However if used as an a cappella piece theflavor and excitement are still there for the singers and audience. A wonderful addition for your treble library! Available separately: SATB unaccompanied; SSAA unaccompanied SSAB unaccompanied; 2-part accompanied.

Looking for a work for advanced treble chorus? This a cappella work for SSAA (div) is successful in worship or concert settings alike. The thought provoking text is set to lush harmony with well-crafted part writing.

The simple tune arranged here for SSAA voices is a traditional Lithuanian song that the composer learned as a child. The blending of traditional tonal harmony and imitative polyphony with contemporary techniques creates a cacophony of sound that is thrilling to audience and singers alike. From the Songs of the World Series

Tipitin. Written by Mexico's first well-known female composer, María Grever, this vals Mexicano (Mexican waltz) makes a charming a cappella work for outstanding choirs. The textured setting offers well-conceived choral parts throughout, sometimes using lower voices to provide a dance-like underscore for the lilting melody. A full translation and pronunciation notes aid in the understanding and mastery of an entirely Spanish text, which recounts a story of new love. Feature an agile soprano on the jaunty descant near the end.

(Shiru L'Adonai)-Based on a biblical text ?And Miriam Sang? is a song of celebration following Israel's deliverance from Egypt through the Red Sea. It begins in a slow chant-like manner and soon shifts to an up-tempo dance-like mood. Although the melodies are original they incorporate the augmented second interval and melodic formulas common to Hasidic and some Middle-Eastern music. The use of Hebrew text tambourine and drums add to the authentic feel.

The Lamb is John Tavener's setting of a poem by William Blake arranged here for unaccompanied Upper Voices by Barry Rose. The work lasts around 3 minutes. TheLamb has long been a favourite of choirs and audiences alike and with this unique arrangement it can also be enjoyed by Upper Voices. The work was composed by Tavener in just a single afternoon and wasdedicated to his nephew's third birthday.   This arrangement received a positive review from Geoffrey Webber in the January/February 2016 edition of Choir & Organ.

(Field Butterfly)-The Field Butterfly is a humorous song about the alikeness of a field butterfly to a 1900 Filipino lady dressed in her glamorous formal dress with tall butterfly sleeves. She struts swaying her hips down the aisle of the church as everyone looks on. The Filipino choral arrangements that George Hernandez has written are some of the most popular in the Pavane catalog. Also available in SATB divisi P1364. For high school and college treble choirs. Medium difficulty.

This Endris Night by Sarah Quartel for SSAA unaccompanied or with optional Handbells Percussion or Organ.Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this carol for upper Voices. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody in 6/8 metre through each of the Voice parts with each verse ending in the lilting refrain 'Lully by by lullay'. The carol may be sung unaccompanied though for added sparkle there is an optional part for Handbells (or Percussion or Organ).

This work is a celebration of the journey towards womanhood with its joys mysteries and possibilities. Spirited ascending melodies dance-like rhythms and vocal percussive sounds unfold into a structured improvisation wherein the members of the choir whisper their aspirations for the future together forming a sea of sonic dreams.

A major work for a mature larger women's choir the concept of this piece is inspired by the composer's never-forgotten visit to the Yad Vashem Centre in Israel. The combined text is from Genesis original text by the composer and names of children of the Holocaust. Both dramatic and intimate this work would be an important experience for your choir and the audience alike. Instrumental accompaniment (score and parts) available separately (harp piano viola handbells or chimes crotales). Duration: ca. 7:20.

(J'entends le Loup)-An incredibly dynamic adaptation of this beloved French folk song. Quick and rhythmic the work reflects the determination and liveliness of the girl in the poem who won't let others dictate her love or her future. Meter changes body percussion and the dancing oboe and piano parts all work together in this challenging arrangement. Sure to be a favorite of choirs and audiences alike! With piano oboe opt. frame drum and body percussion. Duration: ca. 3:45.