SKU: HL.14029634
SKU: CA.9196008
ISBN 9790007236342. Language: Latin.
Score available separately - see item CA.9196000.
SKU: CA.9207600
ISBN 9790007127008. Language: Latin.
SKU: CA.9214000
ISBN 9790007125929. Key: 4th tone. Language: Latin.
SKU: HL.49045613
ISBN 9790001166164. UPC: 841886032538. 7.5x11.0x0.05 inches. Latin.
The extremely compositional versatility of Enjott Schneider is evident even in the small(est) form of choral music. In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), the award-winning composer combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. Imbued with calmness and sensuality, the church music composition is based on the text of a Latin antiphon from the Maundy Thursday liturgy. According to the composer, these anonymous verses represent for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God!In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), Enjott Schneider combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. According to the composer, the text represents for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God!
SKU: CA.966300
ISBN 9790007167684. Language: Latin.
Matsushita has conceived his setting of the Pentecost sequence entirely in the Renaissance polychoral tradition. He employs the full choir (within individual choirs divisi passages also occasionally occur) solely for magnificent sounding climaxes at conclusions, prior to these occurrences he repeatedly combines groups of voices or he allows individual choirs to sing, effectively, in alternation. This type of reduction is even carried over to quasi Gregorian passages sung by one voice in unison. The piece is tonal throughout, with occasional diatonic seasoning. The consistently homophonic setting is oriented towards the declamation of the Latin text. Melodically it is in the style of modal, Gregorian structures, without quoting the well-known sequence. A fast, rhythmically syncopated declamatory section introduces, the dramaturgically appropriate climax to the solemn conclusion, which, molto legato, returns once again with large upward swings to the text of the first strophe. Matsushita writes in a comfortable vocal range so that the work can be sung, at the same time, in both a relaxed and grandiose manner. For large choirs, even for oratorio choirs with only limited experience in a cappella singing, this piece is aptly suited for performance and the music is both grateful and brings much joy for singers.
SKU: MN.80-854
UPC: 688670808548.
Tu es Petrus (you are Peter, the rock) is based on a Gregorian antiphon for the Feast of Saints Peter and Paul/Feast of the Chair of Peter. The piece was composed specifically to fit the parameters and setting of a Papal audience, with a brief performance time. In six-parts with octave doublings, it makes a big a cappella sound for a big space. A powerful new choice for pilgrim choirs to Rome!
SKU: HL.1104274
ISBN 9781705176887. UPC: 196288101963. 6.75x10.5x0.014 inches.
“In Paradisum†is a setting of an antiphon from the Requiem Mass for the dead. The melody resembles Gregorian chant in style, and may be performed by SATB chorus (either a cappella or with organ accompaniment) or solo voice (soprano line with organ accompaniment).
SKU: OU.9780193953857
ISBN 9780193953857.
For SATB with some division in T, unaccompanied. A rare nineteenth-century English example of an alternatim office hymn setting. The glorious Gregorian melody for Passiontide and feasts of the Holy Cross alternates with spacious harmony of noble simplicity. Wingham was Director of Music at the London Oratory from 1882 until his death in 1893.
SKU: CA.926600
ISBN 9790007295554. German.
Peter Schindler's full-length secular choral work Sonne, Mond und Sterne (Sun, Moon and Stars) narrates a love story based on old texts which are given a new interpretation through these musical settings. Some individual numbers were published in spring, and now more movements with piano accompaniment are available in print and digitally.- choral work of medium difficulty- will appeal to experienced Brahms Requiem singers as well as ambitious chamber or youth choirs with a gospel, pop or jazz background-cross-over between jazz, chanson, and chamber music Peter Schindler about O Ewigkeit:We step on the stage of life, pull the curtains wide open and venture a glance at the eternal course of the stars. A powerful choral tutti sounds, the key note of C held on in the basses emphasizes the steadfastness of eternity, and above this is chromatic movement in the upper voices which produces friction. In the following softer central section, female and male voices sing separately. They sing in characteristic Gregorian style in vivid images of the immeasurable sand in the ocean, of tears and trickles, of the great beginning and the end of the cosmos. The verses from 1625 convey an image of astonishment, of seeking and not least also of comfort. The text functions as a framework, as it is repeated in a shortened form in the last number of Sonne, Mond und Sterne. It encapsulates the many life situations which are sketched and sung about in the staged cantata in metaphysical questions.
SKU: HL.49045586
ISBN 9790001166270. UPC: 841886032705. 7.5x10.75 inches. Latin.
As a singing teacher, choir director and not least as a passionate professional choir singer, Irina Rebhuna is perfectly familiar with the possibilities of the human voice. And so it is hardly surprising that the Latvian musician born in 1988 has devoted herself especially to the composition of vocal music. Her sacred choral work Libera me, Domine for mixed a cappella choir (SSAATTBB) won the special prize for the 'best composition for 4-6 voices' at the International Composition Competition 'Musica Sacra Nova' 2016. This church music gem, in which the eponymous Gregorian chorale is intonated by one of the (two) bass baritone sections at the beginning - over a musical tapestry woven by the remaining voices - and taken up again by all tenors at the end, is ideal for ambitious amateur choirs. The idea behind this work, says the composer, is 'the human reflection on the uncertain - on death, on Judgment Day or on what is inexplicable to us. Such as humility, excitement, fear,and atonement. The chant ends without ending, there is no solution. Life goes on because we ask the following question again and again: What will happen next?'.
SKU: MN.80-500
UPC: 688670805004. English.
Normand Gouin has crafted a timeless setting of the Mass. He has set familiar Gregorian chant Ordinary parts—Kyrie XVI in Greek, Gloria VIII in Latin, Mode VI Alleluia, Sanctus XVIII in Latin, ICEL memorial acclamations in English, ICEL Amen (expanded), and Agnus Dei XVIII in Latin—for Assembly, SATB choir, and organ, with optional instrumentation for Flute, Brass Quintet, Percussion, and Strings. The choral parts sometimes support the assembly chant, and sometimes act as halos, deftly embellishing it. The score is in modern notation, and rhythmic values have been treated with great care to preserve the natural flow of chant. A highlight is the Gloria (Missa de Angelis), which alternates assembly chant with original, metered music for the choir based on the chant. Commissioned for the dedication of Christ Cathedral, Orange, CA, in 2019.
SKU: HL.14031224
SKU: HL.14014654
SKU: HL.14001150
SKU: HL.14031202
SKU: HL.14031240
SKU: HL.14017218
SKU: HL.14031201
SKU: HL.50600128
ISBN 9790080149270. Octavo (19 x27 cm) inches. Latin. Aurel Tillai.
The noted Hungarian choirmaster and composer, born in 1930, set four verses of the Lord's Day sequence of St Thomas Aquinas in this short devout work, which draws on the melody of the original Gregorian sequence. Written in 2011 for the 21st International Chamber Choir Competition in Pecs, the work makes rewarding and attractive material for both professional and amateur choirs to sing. Lauda Sion has also appeared in versions for mixed and for women's choir.
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