Ein Lämmlein geht und trägt die Schuld-In the autumn of 1721 when Georg Philipp Telemann became cantor at the Hamburg Johanneum and music director of the city?s five principal churches he faced the challenge of composing and performing a new Passion setting every year. The ninety-minute St. John Passion of 1745 was written in a winningly clear and transparent style with two large choral numbers six chorales (probably joined by the congregation) and several turbae that pose interesting yet manageable demands on the chorus. The plain and unassuming recitatives and the eleven sharply defined yet contemplative arias give soloists broad leeway for artistic interpretation. This volume follows the Urtextof vol. 29 of the Telemann Edition thereby offering a reliable text at the pinnacle of modern scholarship. Contemplative setting of the Passion Urtext from the Telemann Edition Straightforward piano part

Mostly inhabiting a hushed pianissimo the free floating melismas and luminous harmonies of this work for two antiphonal choirs of female voices explore one word: ‘chiara’ (‘clear’ in Italian) and its equivalents in a few other languages. Knussen somewhat cryptically writes that the piece ‘has something to do with St Clare angels and canons.’ The striking atmosphere – fleeting hauntingly elusive and almost mystical – makes this his only choral work ripe for rediscovery.

Oratorio in three acts-Composed in 1748 Handel???s oratorio on the wise and righteous King Solomon is one of the most lavish works he created in this genre.He attached special importance to the choir: rarely does Handel???s music have such extended choral numbers ranging from homophonic settings to choruses of jubilation in eight contrapuntal parts.- Clear straightforward piano reduction in the vocal score- Urtext of the Halle Handel Edition- Full score (BA10709-01) and vocal score (BA10709-90) available for sale- Performance material available for hire

Par GRIFFIN MICHAEL. Bumblebee! Rounds and Warm-ups for Choirs is more than just a wonderful collection of 130 choir exercises including 50 rounds. Michael Griffin, who has taught and consulted throughout the world, shares timeless wisdom to help you get your choir into shape. 'Will prove useful for almost everyone” -Rhinegold Music Teacher Magazine. 'This is a great resource to add to one's library of rehearsal tricks.' - Anacrusis, ACCC, Canada 'Bumblebee contains excellent new ideas and extensions on some of those well-known warm-ups that we all love to use. Backed by clear explanations of the purpose of each, it is a must have, particularly for less experienced choral directors.” - S Turner, PLC, Sydney. 'Vocal physiology, singing pedagogy, and effective vocal examples to practise are excellently combined in Bumble Bee, making it a kind of 'one stop shop' for singing teachers and choir conductors. The vocal work is fun with music examples ranging in difficulty, catering for a variety of vocal contexts. The rounds are invaluable in themselves, offering participants many opportunities to make beautiful music. I even use some of these vocal exercises with my tertiary drama students, as they encourage vocal health and illustrate how the vocal mechanism works. I would highly recommend this resource to anyone who cares about voices and loves to sing well!” - S. Chapman, QLD 'This is really good stuff for all kinds of vocal groups, choirs, conductors. Bravo!!' - Harrie Spronken, Netherlands. 'This is the thinking person's guide to training a choir! Love it.' - Margaret May, Australia. 'It's great to have some fresh warm-ups to add to the repertory. Being short and repetitive by their nature, we need lots of different ones and most of these are new to my choir. The tips for actions and techniques etc. are really useful, and the advice at the back of the book has made me review some of my strategies.' - Philip Duffy, UK./ Méthode / Choeur

Jephtha is Handel’s last oratorio. Handel had to break off from composing several times because of his increasing blindness in 1751. The first performance at the Covent Garden Theatre in February 1752 was the last performance he conducted before he went completely blind. In Jephtha Handel succeeded in achieving the perfect fusion between a biblical plot and the spirit of classical tragedy. With great intensity and dramatic expression he highlighted in particular the fates of Jephtha and Iphis thereby portraying convincing and complex characters. The chorus How Dark O Lord are Thy Decrees at the end of parttwo is of crucial importance in the work and is regarded as the dramatic high point of the oratorio. The vocal score is based on volume I/30 of the Halle Handel Edition (BA 4014) which contains the complete critical version of the music of the oratorio for the first time. It contains a detailed foreword in German and English and a clear straightforward Piano reduction.

The infamous census of the ages has made Bethlehem a busy and crowded spot, and there are some guests at a local inn who aren't very happy. F. W. Woolworth (a rich wool salesman), and Rock Starling (a hip star singer), among others, have made it clear they want no part of the 'lower class' staying at the inn (or otherwise). By the end of this 20-minute, easy-to-prepare and present musical, we learn that Jesus came for everyone, and that because of Him, we're all included in God's Kingdom. For grades K--6. / Choeur

Imogen Holst 1907-84 was a much-loved source of inspiration for countless musicians and students who encountered her over the years of her involvement with the Dartington Summer School of Music and the Aldeburgh Festival.This book conveys her infectious enthusiasm and insight as a choral conductor. Here she sets out clearly and concisely a wealth of practical information on the physical business of conducting which will be of particular value to the amateur conductor. She deals with the forming and training of a choir the presentation and rehearsal of the music and how to approach public performances and competitions. Her final chapter gives adviceon the rehearsal of specific choruses by Purcell Handel and Britten.Originally published in 1973 this edition has been corrected and updated by Lowinger Maddison Archivist for the Holst Foundation.