Cecilia McDowall's I Know That My Redeemer Liveth for SSA(A)TB unaccompanied. This attractive motet was written for performance alongside Brahms's Requiem following the precedent of Handel's famous setting of the same text being sung at the premiere of the Brahms in 1868. The gracefully sculpted music clothes the text with touching melodies expressive harmonies and varied sonorities.

My song is love unknown. My song is love unknown is an expressive and fluid setting of the well-known Lenten text by Samuel Crossman. McGlade highlights the phrase 'take frail flesh and die' with a sighing musical motif, before the work closes with the affirmation 'heaven was his home, but mine the tomb where he lay'.

Photo 51. for SSATB unaccompanied Composed for International Women's Day, this mesmerizing piece celebrates the centennary of Rosalind Franklin and sets her own words with additional text by the poet Sean Street.

This gentle arrangement of Will L. Thompson's words and melody (1880) is ideal for upper-voice choirs of all levels of experience. The melody is sympathetically treated with simple Vocal harmonizations alongside unison singing and the accompaniment creates a lush bed of sound over which the voices resonate.

Published in 1978, the Swedish pop group ABBA released as a B-side, Thank You For The Music, originally created as part of the mini-musical 'The Girl With The Golden Hair' and was initially only played live. This unaccompanied SSATB arrangement by Carsten Gerlitz features 10 vocal scores of this evergreen hit. / Choeur Mixte (SSATB)

Sleepsong is a rich Celtic-inspired song for choirs looking to test their abilities with a new and exciting challenge.Released by Secret Garden in 2005 the song was written by Brendan Graham and Rolf Løvland who also penned the Westlife hit You Raise Me Up. This beautiful and peaceful choral version has been arranged by Desmond Earley for six part chorus with Soprano solo. It was first performed by UCD Choral Scholars on April 19 2012.The piece is perfect for choruses looking to take their singing forward with specific directions for staggered breathing throughout offering an added challenge forensembles. Although designed to be sung A Cappella the arrangement includes a piano reduction for easy rehearsal.

The harmonic turns and piano configurations in La vie ant?rieure ??? the ???former life??? ??? seem almost exuberantly lyrical. At the beginning the archaic sounds and words of the male choir conjure up a dream world that is soon flooded with the power of the waves and the rich polyphonic harmony of the choir and the piano. With the outcry ???C???est l? que j???ai v?cu!??? [I have lived there] which expresses the fervent yearning to return to a past life the collective desperately reinforces the longing for the past. Once more the women???s choir conjures up this lost paradise in an undulating soft sound before the desolate sadness is pierced by the power of the music of the piano postlude creating a moment that is completely in the present.

Sleepsong is a rich, Celtic-inspired song for choirs looking to test their abilities with a new and exciting challenge. Released by Secret Garden in 2005, the song was written by Brendan Graham and Rolf Løvland who also penned the Westlife hit, You Raise Me Up . This beautiful and peaceful choral version has been arranged by Desmond Earley for six part chorus with Soprano solo. It was first performed by UCD Choral Scholars on April 19 2012. The piece is perfect for choruses looking to take their singing forward, with specific directions for staggered breathing throughout offering an added challenge for ensembles. Although designed to be sung A Cappella, the arrangement includes a piano reduction for easy rehearsal. / Choeur SSATBB

From Geistliche Chor-Music-Published in 1648 Heinrich Schütz’s “Geistliche Chor-Music” is still regarded as one of his seminal works. A two-volume performance edition based on Werner Breig’s revised new text is available (BA 5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout retain the original keys and include an integrated figured bass realisation.In keeping with contemporary performance practice the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments (seeperformance material for BA 5901 and BA 5902).- Verleih uns Frieden genädiglich No.4 SWV 372 from 'Geistliche Chor-Music'- Cantus Quintus Countertenor Tenor Bassus Basso continuo ad lib.

For Passion in 1680 Dieterich Buxtehude composed his largest work in the style of an oratorio the cantata cycle Membra Jesu nostri and he dedicated it to his friend the Swedish Court Music Director Gustav Düben. In each of the seven separate cantatas which in principle follow the scheme ?instrumental introduction ? choral movement with biblical texts ? vocal soli (aria) with a sacred text from the Middle Ages ? repetition of the choral movement ? the feet knees hands side chest heart and face of the crucified Christ are interpreted allegorically. The original scoring for strings in No. VI ('Ad Cor') consists of a consort of five gambas. If this group of instruments isnot available then violins I/II can be substituted for gamba I/II and the gamba V parts can be played by the violone (the music for these substitute parts is contained in each respective parts) so that in this case only two gambas (III IV) are needed. For such a performance only two copies of the Gamba performance score (Carus 36.013/16) are required.

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

Instrumentation: SSATB a cappella Format: Sheet Music Details: 12 madrigals for 5 voices (Italian/German) Contents: Contents: Ch'ami la vita mia; A che tormi il ben mio; Non si levav' ancor; E dicea luna; S'andasse amor a caccia; O com' e gran martire; Ch'io non t'ami; Anima mia perdona; Che se tu se il cor mio; O Mirtillo; Era l'anima mia gia presso; M'e pi' dolce il penar

For unaccompanied SSATB choir.Published 2002.Texts Psalm 98 and Psalm 67 — alternative canticles.Commissioned by Christ Church Cathedral Choir.First performance: November 2002.Conducting score.

Par CASTAGNET YVES. J?ai composé cette messe dans les premières années de ma présence à Notre-Dame, avant la création de l?association Musique sacrée à Notre-Dame de Paris et la restructuration de la maîtrise sous sa forme actuelle. La maîtrise existait déjà, bien sûr ; on enseigne en effet le chant en ce lieu depuis le Moyen-Âge, à l?époque où la cathédrale était encore en construction, il y a plus de 850 ans. À la fin des années 1980, la maîtrise était bien différente de ce qu?elle est devenue maintenant. Elle était alors dirigée par le chanoine Jehan Revert, maître de chapelle, qui fut pour moi un véritable guide, et dont la mémoire restera toujours dans le c?ur des musiciens de Notre-Dame. C?est donc à cette époque que j?ai composé cette messe qui fut à la fois ma première composition et ma première ?uvre liturgique. Elle est volontairement très courte, d?où son titre, pour répondre du mieux possible aux contraintes liturgiques. Elle est aussi le reflet de mon profond attachement à ce lieu unique et tellement inspirant pour le jeune musicien que j?étais alors. Yves Castagnet / Date parution : 2024-01-10/ Répertoire / Ch?ur Mixte SSATB et Orgue