The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

Par HAENDEL GEORG FRIEDRICH. Handel Song for St Cecilia´s Day (HWV 76) (Vocal Score) Following ?Alexander?s Feast? (1736), in 1739 Handel produced a second setting of the ?Ode to St Cecilia? (?Song for St Cecilia?s Day?). At its première it was combined with ?Alexander?s Feast?. Rather than a dramatic plot presentable in the theatre, the Ode, in its seven sections, offers a general hymn of praise to music and its impact. Accordingly, it largely consists of emotion-laden arias and festive orchestration. This edition, based on the Urtext from the ?Halle Handel Edition?, offers the version heard at the first performance ? the version preferred in today?s concert life. The foreword (Ger/Eng) provides many detailed notes on performance practice with regard to orchestration. - Urtext from the ?Halle Handel Edition? - Detailed notes on performance practice in the text section (Ger/Eng) - Straightforward piano reduction - Full Score (BA10722), vocal score (BA10722-90) and parts (BA10722) available for sale / Date parution : 2022-07-20/ Répertoire / Solistes, SATB et Orchestre

Missa Dei Patris in C major ZWV 19 Breitkopf Urtext edited by Paul Horn and Reinhold Kubik [solos,mix ch,orch] 70' solos: SATB ? choir: SATB ? 0.2.0.1. ? 0.0.0.0. ? str ? bc The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae. The musical text of the present conductors score is based on that of Volume 93 of the Denkmäler edition Das Erbe deutscher Musik. The new piano-vocal score has been edited by the reputable expert Andreas Köhs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)

The 'Petite Messe solennelle? is the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the 'Stabat mater?, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the series 'Works of Gioachino Rossini?- Supplements the already existing material available to this work / Choeur Mixte (SATB)

Un Parlement de chouettes est une célébration des noms collective en trois mouvements contrastants, avec accompagnement de piano duo, percussions et saxophone. Etymologies collective encapsuler de façon attrayante intrinsèquement quelque chose caractéristique du groupe, par exemple ' un figurèrent des oies ', ' un piteousness de colombes ', ' une ostentation des paons '. Texte de Carol Barratt assemble ces expressions évocateurs en poèmes de non-sens hilarante intitulés ' Irrestistible et bruyante ', ' Tranquillement assis encore ' et ' Mayhem monstrueux ', ce qui incitera les pouvoirs du votre choeur d'énonciation comme jamais auparavant. Une pièce tumultueuse qui divertira les artistes et le public alike et très probablement abattre la maison ! / Choeur Mixte, Saxophone, Percussions Et 2 Pianos

Nous avons choisi la forme du conte musical pour différentes raisons. Musicalement, elle nous a procuré beaucoup de jubilation en alternant chants pour Choeur(à l'unisson et polyphoniques), solos, récitatifs et passages instrumentaux. Littérairement, elle nous a permis d'aborder plusieurs thèmes(la solidarité, l'ennui, la prise en main individuelle, l'invention collective) à travers une histoire simple. Dans une cité, des adolescents s'ennuient. Alors que tout le groupe se morfond, un jeune a une idée : prendre deux cailloux. Oui mais, pour en faire quoi ? des jeux violents ? des farces sordides ? ou jouer de la musique ? / Choeur Mixte À Deux Voix Egales, Six Solistes, Petites Percussions Et Piano

15 compositions d'Antoine DUBOIS pour choeur d'enfants à l'unisson (dont une à 2 voix et 2 canons) et pianoSur les poèmes de Pierre CORAN extraits de 'Jaffabules? Les quinze miniatures qui constituent ce recueil promènent le choeur à travers un jardin zoo(pas très)logique. L'univers poétique tendre et cocasse de Pierre Coran est accessible à tout âge et les mélodies ont conservé un esprit ludique. / Choeur D'Enfants / 36 pages / Partition

Book 5 of the Sing Out! series features wonderful new choral arrangements of five top pop tunes, all arranged by renowned Vocal Coach and Choral Director extraordinaire Mark De-Lisser. Each song has been beautifully arranged for SAT chorus, the unison harmonies totally reinvigorating these favourite pop songs.From the classic rock anthem of the 1980s in Toto's Africa, to the modern pop heartbreaker All Of Me by John Legend, these are great songs with even greater arrangements. The unabashed positivity of Nico and Vinz's Am I Wrong makes a fantastic counterpart to the optimism in the face of pain represented by the arrangement of the traditional gospel song Take My Hand, Precious Lord, a tune used to wonderfully affecting effect in the recent film 'Selma'. Finally, this fresh pop choral setlist is rounded off nicely with Ed Sheeran's Thinking Out Loud, a beautiful love song in which the power and emotion of the words will enhance the performance. Arranged for SAT (Soprano/Alto/Tenor) Choir, these songs are designed to be sung to backing tracks, but Piano accompaniments and Guitar chord boxes are included for rehearsal purposes, or if you wish to perform with a live band. Aside from De-Lisser's incredible arrangements, this pack includes an innovative and user-friendly download card with performance backing tracks, full demonstrations and individual rehearsal tracks of each Vocal part recorded by members of ACM Gospel Choir. Helpful hints for performing each piece are also included in this book, giving you everything you need to learn these well-loved songs.Mark De-Lisser is a celebrated Vocal Coach and Choral Director, who has been featured on BBC1's 'Last Choir Standing'. His extensive introduction and notes within this songbook bring a personal touch, as De-Lisser really is passionate about getting people singing, improvising and, most of all, enjoying themselves. The new Choral arrangements of these fantastic pop tracks are ideal for spicing up a performance with these tunes, reinvigorated with lush harmonies and rich voices, all the while retaining the magic and meaning of the original songs. At your next performance, make sure you Sing Out!, leaving your audience truly astonished. / Choeur SAT

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

With their iconic layered harmonies, the music of The Beach Boys is ideal for choirs seeking vivid pop melodies and rich textures. This arrangement of In My Room for SATB chorus with piano accompaniment is a gentle, lilting piece featuring an a cappella middle section that offers a key change and some pleasant dramatic contrast. A wonderful Choral Pop for choruses looking to add a tender, calming new piece to their repertoire, the soft piano backing and four vocal parts that move along in a parallel motion adds to the piece's dreamy, lullaby feel. / Choeur SATB