SKU: SU.80300107
Your second altos will love this setting--they get the melody in the refrain, and lots of low f's during the verses. The strong rhythms of this setting will energize your chorus! SSAA and soprano solo a cappella. Easy/Medium. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: SU.80300168
Excerpts of the Requiem text in Latin, and metric verses of Psalm 23 in English, make this moving elegy suitable for memorial services and All Saints’ observations, as well as for general sacred use. SSAA a cappella; duration: 4’25; range: a flat-a; difficulty: medium. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: GI.G-9989
UPC: 785147998907. English, Latin. Text Source: Matthew 5:7–9, alt. Scripture: Matthew 5:7–9.
The percussion part is for djembe and triangle/finger cymbals.
SKU: CA.966200
ISBN 9790007167677. Language: Latin.
Matsushita's setting of a hymn for Pentecost is a dialog between women's choir and piano: while the choir develops its melodies from the Gregorian hymn, the piano provides a counterpoint with the minimalistic sounds of fourth and fifths, together with short independent motives related to the text of the hymn. Corresponding to the chorale, the meter changes continually, as if floating. The choir is treated homophonically throughout and, in preparation for the climax of the piece it is briefly divided into six parts at the words pacemque dones protinus (true peace bring unto us). One again Matsushita proves himself a master of economy in his use of compositional means; thus his works of new church music are appealing, effective, and they express humility.
SKU: ST.M733
ISBN 9790220218514.
SSAATB. Revised by Thurston Dart.
SKU: BP.2149
Printed product. The ethereal nature of the Samuel Francis Smith poem is perfectly paired with masterful text painting until the two become one in spirit and understanding. The move from earth to heaven is flawless. The music is deep; the text rich and profound. The melody line moves to harmony and back again until it finally finds a resting place in the sight and sound of eternity . . . making heaven a heaven. Glorious! Scored for SATB choir and piano with optional string quartet or orchestra parts available. Also available for SSAA and TTBB.
SKU: SU.80300188
The carol text is by the same sixteenth-century poet--Robert Southwell--as the better-known This Little Babe. Like its sister text, it explores an unusual metaphor for the infant Jesus--in this case, a refining fire which purifies the believer. The strophic setting, with soprano solo, is dissonant and chromatic, with edgy rhythms: a fine selection to balance against sweeter Christmas settings. SSAA a cappella. Medium-Difficult. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: HL.49018916
ISBN 9790001174718. 7.5x11.0x0.048 inches. English.
The Belgian composer and conductor Kurt Bikkembergs (*1963) has added to the repertoire for women's choir again: With 'The Maiden and the Sea' based on a text by Rene Geldof, he presents a revised and translated English version of his work 'Het meisje en de zee' written in 1994. It is a choral setting in which Bikkembergs has onomatopoeic and spoken elements alternate with mysterious chordal sounds and combines them in a skilful manner - a fascinating composition for performers and audience alike.
SKU: HL.49046794
UPC: 196288026334.
Chor to go for women's choir (SSA and SSAA a cappella) combines some of the best-known and most popular small choral works for women's choir in one easy-to-read, compact edition. In addition to folk and evening songs as well as sacred pieces, there are popular and catchy classical choral compositions from the Romantic period, serenades and toasts for social gatherings as well as international melodies. Some pieces require a little more rehearsal effort and are also suitable for concert programs, others can besung from sight and are used for entertainment after the rehearsal or as a serenade. In the small format, the choir booklet fits in the handbag and is therefore the ideal companion for all kinds of activities. The booklet is quickly available for parties, choir excursions or concert tours and every singer can sing along.
SKU: HL.49046248
ISBN 9790001207218. UPC: 842819105169. 0.031 inches. English.
Composing soulful and expressive choral music has been the trademark of Alwin Michael Schronen for many years. A hauntingly beautiful testimony to that is his arrangement of Sally Gardens for upper voices (SSAA) and piano. This traditional Irish folk song is based on one of the first love poems by William Butler Yeats. Its melody is characterized by simplicity and catchiness which are maintained by Schronen in a clean and natural manner in an easy-to-play choral setting for four female or childrens voices singing in unison over long passages and are only seldom divided into four voices. The warm sounds of the easily playable piano accompaniment emphasize the melancholy and touching air of this wonderful Irish folk tune. A catchy tune - guaranteed!
SKU: BP.DF1023
6.88 x 10.5 inches.
From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar.
SKU: HL.48025426
ISBN 9781835680032. UPC: 196288207559.
Silent night: This arrangement of the traditional carol by Franz Gruber and Joseph Muhr (translated into English by John Freeman Young) was written by Anna Lapwood and the Pembroke College GirlsÂ? Choir for their end of term party for the families of the choristers. The aim was to produce an arrangement manageable for the youngest choristers whilst stretching the older ones with some slightly jazzy harmonies. It was written in one 75-minute rehearsal, and performed to the parents straight after. The choir has written a new pieceat the end of every term since. Gaudete: This arrangement of the 16th-century carol was written during a full weekend of group composition with Anna Lapwood and the Pembroke College Girls' Choir, a process with which they had experimented previously. The choir decided to create rhythmic impetus and drive, which is delivered from the outset in the introductory material. This figure is repeated under the refrain for the first three verses, while the verses themselves are presented in simple unison. The final verse is harmonised and crescendos towards the uplifting key change for the final refrain, giving a sense of climax, which may be highlighted further with an optional tambourine.
SKU: HL.286858
UPC: 888680899158. 6.75x10.5x0.036 inches.
Four movements from the end of the “Passion†section of Considering Matthew Shepard we hear from a deer. It has been well established that Matt loved the outdoors and it is fitting that a deer should sing “All night I lay there beside you, I cradled your pain in my care.†The women sing this delicate text accompanied by three soprano soloists who bring the breeze and the hope of redemption.
SKU: M2.MOS-69449-01
ISBN 9790203755685.
1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
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