For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Sacred. 182 pages. 9x12 inches. Published by Creative Concepts

Choir Sacred (SATB choir)

SKU: AP.LG51972

Composed by Lloyd Alvin Pfautsch. Choral Octavo. Alfred Archive Edition: Lawson-Gould Music Publishers. Sacred. Choral Octavo. 8 pages. Alfred Music #00-LG51972. Published by Alfred Music (AP.LG51972).

UPC: 783556010944. English.

Commissioned by St. Peter's United Church of Christ, Elmhurst, Illinois, celebrating its 100th anniversary. Easter Carol. Orchestral accompaniment available for rent. Go to presser.com/request-rental.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165205

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Choral Score. KV 626. Duration 50 minutes. Carus Verlag #5165205. Published by Carus Verlag (CA.5165205).

ISBN 9790007314286. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165203

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Vocal score. KV 626. Duration 50 minutes. Carus Verlag #5165203. Published by Carus Verlag (CA.5165203).

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

By G.A. Young and James M. Stevens. For SATB Choir (SATB). Shawnee Press. Choral. 8 pages. Shawnee Press #A7983. Published by Shawnee Press

SATB Chorus & Organ

SKU: SU.91480570

For SATB Chorus & Organ. Composed by Dan Locklair. Vocal/Choral, Sacred Choral. Accompanied by organ. Choral Octavo. Composed 2010. Duration 7'. Subito Music Corporation #91480570. Published by Subito Music Corporation (SU.91480570).

Text: Angier Brock.

SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits.


Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

By Sally K. Albrecht. For Choir. (3-Part Mixed). Choral Octavo. Choral Designs. Gospel; Sacred; Secular; Spiritual. Choral Octavo. 8 pages. Published by Alfred Publishing.

SATB choir, trumpets, timpani, cymbals, organ

SKU: PL.0202BP

Composed by William Ferris. Choral, Festival, General. Brass Parts. Paraclete Press #0202BP. Published by Paraclete Press (PL.0202BP).

The late William Ferris composed this large, festive work specifically for the dawn of the new millenium and it received its premiere on January 2, 2000. It is based on the words of Psalm 118. A fanfare at the opening provides the sturdy musical material for the entire work. The choir first enters with the words, It is good to give thanks to the Lord. The opening section is full of wonderful sonority for choir, brass and organ. A repeat of the opening fanfare leads to the middle section, based on modal harmonies and reflective in spirit. The fanfare returns and opens the final section with triumphant words, This is the day that the Lord has made. The work ends in a very declamatory manner. This is a splendid new festival work that can be performed in any liturgical season.

SATB choir, trumpets, timpani, cymbals, organ - Medium Difficult/Difficult

SKU: PL.0202

Composed by William Ferris. Cathedral. Choral, Festival, General. Octavo. Paraclete Press #0202. Published by Paraclete Press (PL.0202).

The late William Ferris composed this large, festive work specifically for the dawn of the new millenium and it received its premiere on January 2, 2000. It is based on the words of Psalm 118. A fanfare at the opening provides the sturdy musical material for the entire work. The choir first enters with the words, It is good to give thanks to the Lord. The opening section is full of wonderful sonority for choir, brass and organ. A repeat of the opening fanfare leads to the middle section, based on modal harmonies and reflective in spirit. The fanfare returns and opens the final section with triumphant words, This is the day that the Lord has made. The work ends in a very declamatory manner. This is a splendid new festival work that can be performed in any liturgical season.

By Robert Young. (SATB DV A Cappella). Fred Bock Publications. 4 pages. Published by Gentry Publications.

SATB choir - Moderately Advanced

SKU: LO.10-1825LA

Composed by Hal H. Hopson. Choral. Sacred Anthem, General, Pentecost. Octavo. Laurel Press #10/1825LA. Published by Laurel Press (LO.10-1825LA).

UPC: 000308043532.

The vigorous organ accompaniment matches the rhythmic vitality of the choir in this challenging, multi-and mixed-metered anthem that is ideal for Trinity Sunday. A peaceful, contrasting section leads to a spirited final cadence firmly stating Let there be light!.