SKU: JK.01124
Moroni 10:4-5.
Scriptural setting arranged for mixed chorus (SSATB) and piano, of Moroni 10:4-5.Composer: Richard W. Smith Lyricist: Moroni 10:4-5 Difficulty: Medium-easy Performance time: 4:30Reference: Moroni 10:4-5.
SKU: CA.924100
ISBN 9790007244361. Language: French. Text: Gounod, Charles.
In Charles Gounod's L'absent, composed in 1873, the absent one asks at night time whether the beloved remembers him in the light of the moon and at the sound of the evening prayer bells. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).
SKU: HL.50600080
ISBN 9781495008528. UPC: 888680041786. 6.75x10.5x0.065 inches.
Written for SSATB, semi-chorus and unison children's choir, this is the perfect ending to a concert featuring multiple ensembles. With an original text by the composer, this a cappella composition has a sense of contemporary pop a cappella style and will instantly become a favorite of singers and listeners. ScorePlay - click to view score with recording.
SKU: CA.924500
ISBN 9790007244408. Key: E flat major. Language: German. Text: Morike, Eduard.
Hugo Wolf composed over 250 songs to texts by the greatest poets of his day. One of the best-known of these is Verborgenheit. In Denis Rouger's arrangement it reveals its own momentum which does not conflict with the original masterpiece, but presents new facets alongside it, inviting us to discover something new in the old. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).
SKU: OU.9780193525627
ISBN 9780193525627. 10 x 7 inches.
For SSATB unaccompanied An atmospheric setting of Caliban's dream from The Tempest, this piece transports the listener to a dream-like place. McDowall's immersive harmonies and ornamentation perfectly characterise the reverie Shakespeare's protagonist describes.
SKU: OU.9780193392472
ISBN 9780193392472. 12 x 8 inches.
For SSATB unaccompanied This stunning setting of Revelation 22:12-13, 17, describes Christ's generous offering of grace to 'whoever is willing'. The piece begins with a lively opening but quickly shifts into a gentler mood, giving way to Jackson's rich harmonic language and inventive choral textures.
SKU: OU.9780193953949
ISBN 9780193953949. 12 x 8 inches.
For SSATB (with divisions) and organ Following the recent release of a CD of Harry Bramma's church music, the Church Music Society is proud to publish this setting of words of St Augustine of Hippo, written for the Choir of St Martin's, Dorking, to mark the centenary of the birth of Dr William Cole.
SKU: OU.9780193572263
ISBN 9780193572263. 10 x 7 inches.
For SSATB and piano Come Back Like the Sea sets a Sara Teasdale poem that uses the metaphor of the ocean's tide to symbolize life's ups and downs. The music captures the sea imagery and sense of yearning with a captivating opening soundscape, melodies that ebb and flow like the tide, and an evocative piano part that weaves throughout the work.
SKU: OU.9780193529571
ISBN 9780193529571. 10 x 7 inches.
For SSATB and piano An arrangement of a well-known hymn by John Adam Granade in which the arching vocal lines are accompanied by a rhythmic, undulating piano part evocative of the rivers the hymn-writer describes. There is also a version for men's voices.
SKU: JK.01015
Psalm 95:1-6, Psalm 33:1-6.
Thanksgiving anthem for mixed chorus (SATB) and organ or piano. Sopranos divide the last four measures. Sopranos' highest note: E.Composer: Conrad Kocher Arranger: Darwin Wolford Lyricist: Folliot S. Pierpont Difficulty: Medium / medium-difficult acc. Performance time: 3:10Reference: Psalm 95:1-6, Psalm 33:1-6.
SKU: HL.49046375
ISBN 9781540084590. UPC: 840126908251.
Peter Gabriel's 1992 Gospel Ballad; as performed by Vocal Line. A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics, the arrangers - among them Jens Johansen, Bertrand Groger, Oliver Gies, Thierry Lalo, Dylan Bell - rank among the great figures of the European choral scene, and the book comes along in an absolutely choir-friendly format: as a handy, modern separate edition at an affordable price - a valuable addition for all jazz, pop and gospel ensembles looking to add new pieces to their repertoire. further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Blues on Sunday / As.
SKU: SU.80101302
A madrigal-style setting of the familiar secular text by John Fletcher. 12 pages Published by: Zimbel Press Minimum order quantity: 8 copies. Perusal copies are available by contacting carson@carsoncooman.com (include the organization name with your request). To order quantities fewer than 8.
SKU: HL.49025819
ISBN 9790001013352. 7.5x10.75x0.054 inches. German - English.
SKU: SU.80101301
An setting of Psalm 98 with varied moods. 12 pages Published by: Zimbel Press.
SKU: GI.G-9610
UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.
Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.†I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora†is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.†Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,†which it then does, leaving the sopranos alone on a high G.
SKU: UT.TME-1
ISBN 9790215316096. 9 x 12 inches.
Performance Material on Hire[Solo: SAATB - Str - Bc]Thanks to its patron the Duke Francesco II, Modena became a capital city worldwide for the oratorio genre: renowned maestro di cappella in Ferrara, also Bassani wished to offer to the Duke his own work, setting aside for him the summit of his melodic and dramaturgical inventiveness.According to the documents that we have, the performance of Giona was Bassani's debut at the court of Francesco II. Born in Padua around 1650, the composer carried out the main part of his activities in Ferrara, where he was organist (probably from 1667), and maestro di cappella at the Accademia della Morte (from 1683), and subsequently also at the Cathedral (from 1686); he also became a member of the Accademia Filarmonica of Bologna (in 1677) and was committed to Alessandro II Pico, Duke of Mirandola and Marquis of Concordia. In 1712 he moved to Bergamo, where he was maestro di cappella at S. Maria Maggiore; he died there on 1st October 1716. Before his commission in Modena, the <> - as he was often called at that time - had already printed seven instrumental and vocal works as well as a few operas and oratorios.
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