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Choral SATB
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Frederick Swann: Blessed Be The God And Father: SATB: Vocal Score
Choral SATB
[Vocal Score]
Hinshaw Music Inc.
Roland C30 Digital Harpsichord including stool. Experience the elegance of baroq...
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Roland C30 Digital Harpsichord including stool. Experience the elegance of baroque music.While producing authentically exquisite centuries-old harpsichord sounds and drawing inspiration from 21st century ingenuity the Roland Classic Series C30 Digital Harpsichord uses digital technology to enhance playability and expressiveness. Whether you are a virtuoso or a novice the C30 makes it possible for you to spend as much quality time as you want with the harpsichord. Taking up little space the styling of the C30 is modelled on the virginals. With an authentic wooden cabinet and a high-quality mahogany finish the traditional and simple styling will beright at home in a classic or modern interior. The period styling is enhanced by stained glass on the stand and the decorative panel on the keyboard lid. The C30 can easily switch between the built-in French and Flemish types of harpsichord. Both of these have four dispositions— 8’ I (back eight) 8’ II (front eight) 4’ (upper octave) and lute (buff mute) — and each disposition has its own dedicated selection button. You can play with a single disposition or layer more than one. The C30 also has an excellent fortepiano sound and has two admirable sampled organ options - 8' flute (ideal for solo accompaniment) and 8'+4' Principal which is ideal for use with a choir. The digital C30 doesn’t need tuning and you can simply switch the pitch from a=440 to baroque (415 Hz) and French baroque (392 Hz). If for ensemble playing you need to match the C30 to other instruments fine pitch adjustments can be made. You can easily take the C30 with you to group rehearsals and live performances. Even if the temperature and humidity vary you can be sure that the pitch will remain accurate. Time-consuming maintenance is a thing of the past. Now you can just turn on and play. As well as equal temperament you can select Werckmeister Kirnberger Vallotti and Meantone tuning
3.99 GBP - Sold by Musicroom UK
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John Harle: Lookout!: SATB: Score
Choral SATB
[Partitions]
Chester
Sheet music for John Harle's Lookout!. This is a full score for Children’...
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Sheet music for John Harle's Lookout!. This is a full score for Children’s Voices Mixed Chorus Soprano Saxophone Double Bass and Keyboard.Lookout! was written for TheFolkestone Futures Choir and was realised by The Sidney de Haan Research Centre for Arts and Health Canterbury Christ Church University at the invitation of Folkestone Triennial 2014 with a grant from the Creative Foundation.The piece incorporates lyrics by the poet Tom Pickard.'Lookout! is a set of five songs written for the Folkestone Futures Choir for FolkestoneTriennial 2014. Within the culture of songs written for'Complaints Choirs' the lyric material is drawn from actual notes made by the residents of Folkestone about living in their town - its beauty its community spirit - and of course its drawbacks.It has been purposely written to beable to be rehearsed and performed on a minimum of rehearsal time as the logistics of large-scale community events means that the singers and musicians often come together only on the day of performance.The accompanyinginstrumental parts are straightforward the role of the saxophone line being tosupport the vocal line most of the time. Future performances of the work could involvearrangement of the musical material for other instrumental forcesor simply a keyboard or pianoaccompaniment.' - John Harle
10.99 GBP - Sold by Musicroom UK
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Lars Jansson: To the Mothers in Brazil: Salve Regina: SATB: Vocal Score
Choral SATB
[Vocal Score]
Walton Music
Originally an instrumental work Swedish composer Gunnar Eriksson has created a ...
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Originally an instrumental work Swedish composer Gunnar Eriksson has created a remarkable experimental version for choir which is both deceptively simple and impressively powerful.Deliberately schematic the score offers a base for improvisation. Each choir is encouraged to create their own unique representation of the emotional meaning inherent in the music itself. Dynamic and intense this is best for choirs looking to stretch beyond the limits of standard choral repertoire. Recorded by the Sophia Vocal Ensemble Bengt Ollén conductor.
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Benjamin Britten: Te Deum In C: SATB: Score
Choral SATB
SATB, Orchestra
[Sheet music]
Chester
In preparing for publication the 1935 orchestral version of Britten's Te Deum in...
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In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.
24.99 GBP - Sold by Musicroom UK
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Ruth Elaine Schram: Love One Another: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
From the prolific pen of Ruth Schram comes a universal theme of love and charity...
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From the prolific pen of Ruth Schram comes a universal theme of love and charity which fills this piece with purpose and excellent worship potential. Drawing from the words of the Savior Ruthie has crafted a piece thatincorporates a full range of music ministry resources into a touching statement for your choir. Use the instrumentation and handbell parts to create a truly singular piece. Beautiful!
13.75 GBP - Sold by Musicroom UK
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Antonio Vivaldi: Kyrie Rv587: Mixed Choir: Vocal Score
Choral SATB
SATB, Piano
[Sheet music]
Barenreiter
Vivaldi's Kyrie RV 587 (BA 8950) is scored for two choirs and two groups of str...
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Vivaldi's Kyrie RV 587 (BA 8950) is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solo passages.Today the ?Gloria? RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period atthe Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).
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Celtic Choirbook: SATB
Choral SATB
SATB A Cappella
Schott
Celtic music is enjoying a well-deserved revival. This revival may have been in...
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Celtic music is enjoying a well-deserved revival. This revival may have been inspired by historical Hollywood epics by popular dance acts such as â€Riverdance†by Michael Flatley or purely by the emotional power of Celtic melodies. The songs all tell stories that have been passed down through successive generations with more facets than any other kind of traditional music: some are melancholy dirges some playful and lively dance tunes. This book brings together 20 of these traditional melodies in contemporary modern arrangements for mixed chorus. In them you will find homophonic movements sweeping melodic lines vocal imitations of Celtic instruments and rousingrhythms. The irresistible charm of this music will leave no choral singer unmoved and is bound to find favour with audiences.
11.99 GBP - Sold by Musicroom UK
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Per Nørgård: Winter Cantata: SATB: Score
Choral SATB
Wilhelm Hansen
Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble o...
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Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: ?The Year? and ?Choral Hymn?. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals which inspired me to write several choral and instrumental works in the following decade based on thesemelodies: ?Frost Psalm? ?Winter Cantata? ? Winter Hymn? ?Cantica? and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook under the title ?Året?(The Year). Ole Sarvig´s poem ?Året? (The Year) is Danish perhaps Scandinavian in character but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata based on Sarvig´s many verses was done by letting soloist choir and instruments change in feelings and moods: from the almost silent inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root) followed by nightmarish tone rows as the ?year-wheel of fortune? is turning (III: Sacrifice The Year) and the temptations of the snake (IV: In Paradiso) to the allegorical fights between egoism and altruism (V:The Cycle Autumn. Purgatory) before the ?waiting for a disaster?- atmosphere at the end of this choral Odyssé. Winter Cantata was from the beginning (1976) designed as an open work to be arranged by different combinations of soloists choir and (different) instruments. The printed version by Per Nørgård and Ivan hansen for soloist mixed choir and instruments (obo violin trombone vibraphone/percussion and organ) is from 1990. The work
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Dale Warland: O Magnum Mysterium: SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
Dale Warland Choral Series-Movement no. 2 from Nativity Suite the opening sound...
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Dale Warland Choral Series-Movement no. 2 from Nativity Suite the opening sounds of the instruments and voices in this setting of one of the most widely known of the Latin texts appropriate for Christmas are meant to conjure an air of mystery.The initial tone clusters approached by layering the voice parts suggest intimacy and the veiled quality suited to this traditional liturgical text. Other movements include: Welcome All Wonders (50600071) A Boy Was Born(50600073). Flute and Harp Parts available separately for the full suite (50600165).
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Dale Warland: Welcome All Wonders: SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
Dale Warland Choral Series-No. 1 in Nativity Suite the opening sounds of the in...
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Dale Warland Choral Series-No. 1 in Nativity Suite the opening sounds of the instruments and voices in this setting are meant to invoke an air of mystery. The initial tone clusters approached by layering the voice parts should be presentedvery subtly in order to enhance the intimacy and the veiled quality suited to this traditional liturgical. The alleluias which reflect the significance of the Christmas Eve should be joyful. Other movements include: O MagnumMysterium (50600072) A Boy Was Born (50600073). Flute and Harp Parts available separately for the full suite (50600165).
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Dan Forrest: Requiem for the Living: SATB: Vocal Score
Choral SATB
[Vocal Score]
Hinshaw Music Inc.
Commissioned by the Hickory NC Choral Society for their 35th anniversary season ...
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Commissioned by the Hickory NC Choral Society for their 35th anniversary season Dan Forrest's Requiem For The Living is scored for mixed choir with solos for boy soprano and/or mezzo-soprano soprano & tenor. The instrumentation is available for large orchestra or chamber ensemble. Combining both liturgical and non-liturgical texts in some cases the traditional texts are slightly re-arranged for contextual emphasis. This powerful five movement work projects a wide range of meaningful expression from a biting essay on the vanity and pain of existence to a plea for mercy and a celebration of eternal light. The work standsalone - but would be especially moving for all saints Good Friday or even Palm Sunday. Movements: Introit - Kyrie Vanitas Vanitatum Agnus Dei Sanctus Lux Aeterna 3. Instrumentations available on rental only: 1. Full orch. (HMB265a): 2 flutes 2 oboes 2 bb clarinets 2 bassoons 2 horns (or 1-4: if performing with a large choir horn lines may be doubled by a second player on each part) 2 bb trumpets 2 trombones bass trombone or trombone 3 tuba percussion (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt.)(or other low drum) timpani (3) (one player) harp strings (min. Suggested count 4.4.2.2.1) full score. 2. Chamber version (HMB265b) - flute oboe horn in f (optional) combined percussion (one player: timpani suspended cymbal crash cymbal triangle glockenspiel crotales (bowed) snare drum low tom-tom (optional) (or other low drum) harp violin cello organ full score. 3. Expanded chamber version (HMB265c) - flute oboe horn in f(opt.) percussion from full orchestra version (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt. or other low drum) timpani (3) from full orchestra version (1 player) harp strings from full orchestra version
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Johann Sebastian Bach: Ein Feste Burg Ist Unser Gott BWV 80: SATB: Vocal Score
Choral SATB
satb (soli), SATB (chorus), Keyboard
[Vocal Score]
Carus Verlag
Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein fe...
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Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.
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Karl Jenkins: Stabat Mater: SATB: Vocal Score
Choral SATB
Soli, mixted choir and piano
[Vocal Score]
Boosey and Hawkes
For Contralto solo Chorus and Orchestra. Looking outside the purely Western E...
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For Contralto solo Chorus and Orchestra. Looking outside the purely Western Europe tradition for inspiration and freshness Karl Jenkins sets the 13th-century Stabat Mater text in Latin and English and has extended it to a universal depiction of grief with six other texts some of them from ancient sources in a variety of languages. The scoring is for voices and modern symphony orchestra augmented by indigenous instruments such as the Darabuca (Hand Drum) and Riq (Small Tambourine) and the Mey (Woodwind). The work has been recorded by EMI Classics performed by the Royal Liverpool Philharmonic Orchestra andChoir the EMO Choir of Helsinki with soloists Jurgita Adamonyte and Belinda Sykes conducted by the composer. By turns dramatic and reflective the twelve-movement work incorporates the original 13th-century Latin sequence alongside additional texts such as Ave verum corpus (originally composed for Bryn Terfel) Lament by Carol Barratt and English texts derived from ancient Babylonian and medieval Persian sources.
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Richard Allain: The Beloved: SATB: Vocal Score
Choral SATB
SATB, Organ
[Vocal Score]
Novello & Co Ltd.
POD-Richard Allain's The Beloved for SATB choir and Organ. This work was commiss...
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POD-Richard Allain's The Beloved for SATB choir and Organ. This work was commissioned by Merton College Oxford as part of the Merton Choirbook a collection of music being assembled to celebrate Merton College's 750th anniversary in 2014. The Beloved was first performed on the 18th January 2015 in Merton College Chapel by the choir of Merton College conducted by Benjamin Nicholas. This work is a setting of text by Thomas Allain: Above himThe dove will linger in flight As the Light is bathed in water The water bathed in light.And a voice will tearthe heavens apartHe alone hears now within his heart:The Father Well-pleased Whispering his delight. Richard Allain's The Beloved (Novello) another Merton College commission and also with words by his brother on the theme of Christ's baptism gives ample opportunity to demonstrate the virtues of their new organ in a toccata-like interlude illustrating God's voice tearing 'the heavens apart'. After this climax the piece subsides to a pianissimo heterophonic declamation of God's pleasure in his Son. A powerful piece if one has both ·the vocal and instrumental resources to do it justice. Organists Review December 2017
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Johann Kuhnau: Der Gerechte kommt um: SATB
Choral SSATB
SSATB, Orchestra, Basso continuo
[Sheet music]
Carus Verlag
Adaptation of the motet 'Tristis est anima mea' attributed to Johann Kuhnau. Th...
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Adaptation of the motet 'Tristis est anima mea' attributed to Johann Kuhnau. The motet 'Der Gerechte kommt um' comes down to us as part of the Passion cantata 'Ein Lämmlein geht und trägt die Schuld' by Carl Heinrich Graun into which movements by various other composers including Bach and Telemann were also later inserted. According to the research of Diethard Hellmann editor of this edition the motet was originally an a cappella composition by Johann Kuhnau with the text 'Tristis est anima mea' which then was adapted ? most likely by Bach ? with a new text and the addition of instrumental parts. The motet 'Der Gerechte kommt um' comes down to us as part of the Passioncantata 'Ein Lämmlein geht und trägt die Schuld' by Carl Heinrich Graun into which movements by various other composers including Bach and Telemann were also later inserted. From the research of Diethard Hellmann editor of this edition the motet was originally an a cappella composition by Johann Kuhnau with the text 'Tristis est anima mea' which then was adapted?most likely by Bach?with a new text and the addition of insturmental parts.
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Karl Jenkins: Requiem: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
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Intermediate
Boosey and Hawkes
In recent years Karl Jenkins has become one of the world's best-selling living c...
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In recent years Karl Jenkins has become one of the world's best-selling living composers. He continues to conduct his epic Adiemus Live Concerts with distinguished orchestras including the London Philharmonic featuring in Festivals and concerts in Britain and abroad; and his moving choral work The Armed Man: A Mass For Peace is now firmly lodged as a concert favourite. This new work builds on the style which the British public have come to know and adore. Jenkins has set the usual Latin movements of the requiem mass but in keeping with his usual trait of drawing from other cultures he has also set five Japanese haiku ‘death’ poems. Such poems are usually to dowith nature have a single idea and consist of seventeen syllables divided 5-7-5 over three lines. As one can see from the text the Japanese view nature’s water cycle (precipitation) as being synonymous with life. The Western and Eastern texts are combined in two of the haiku movements Having Seen The Moon and Farewell which incorporate the Benedictus and the Agnus Dei respectively. Both are intoned by male voices in a monastic style as a counterpoint to the Japanese text sung by females. The instrumentation of these haiku settings includes the ancient Japanese wind instrument the shakuhachi. Elsewhere as usual Jenkins has used some ethnic drums (e.g. Arabic darabuca Japanese daiko frame drums) and even a hip-hop rhythm in the Dies Irae!
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Petite Messe Solennelle
Choral SATB
Barenreiter
The 'Petite Messe solennelle? is the finest work of Rossini's late years. He com...
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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)
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Hodie (This Day)
Choral SATB
Hal Leonard
2nd Edition. Par STROOPE Z. RANDALL. Composer/conductor Z. Randall Stroope has t...
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2nd Edition. Par STROOPE Z. RANDALL. Composer/conductor Z. Randall Stroope has taken this very successful three-movement work for mixed chorus and brass which he published several years ago, and wrote a new first movement, mostly new third movement, and re-orchestrated it in a colorful 16-minute display of choral/instrumental color.ÿ Calls for 4 trumpets, 3 trombones, tuba, timpani, perc (1), organ and optional treble choir.ÿ Makes a great centerpiece of a concert at advent or any other time of year. / Date parution : 2021-12-09/ Répertoire / Choeur SATB
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Tarik O'Regan: Mass Observation: SATB: Score
Choral SATB
Novello & Co Ltd.
Full Score- Tarik O'Regan's Mass Observation was commissioned for the University...
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Full Score- Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund. Composer's note: Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence. Duration approximately: 40 Minutes
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Tarik O'Regan: Mass Observation: SATB: Vocal Score
Choral SATB
[Vocal Score]
Novello & Co Ltd.
Tarik O'Regan's Mass Observation was commissioned for the University of Michigan...
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Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund. Composer's note: Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence. Duration approximately: 40 Minutes
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All Is Well: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
Uses: Advent Christmas Scripture: Luke 2 David Angerman and Michael Barrett hav...
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Uses: Advent Christmas Scripture: Luke 2 David Angerman and Michael Barrett have combined to provide a new Christmas cantata seeking to blend traditional carols with some contemporary Christian seasonal selections. Designed for choirs of any size this quickly learned cantata includes songs by Michael W. Smith Keith Getty Amy Grant Point of Grace and others. The accompaniment tracks available are produced with a fresh folk sound making the work both current and comfortable to all types of audiences. Optional obbligato instruments give thoughtful directors choices for acoustic instrumental additions if desired. The simple narration reminds us of the comfort and joy we have inthe miracle of grace. Titles include: Prepare Ye the Way O Savior of Our Fallen Race Promises of Isaiah Breath of Heaven Here I Am to Worship One King Light of the Stable All Is Well. Available separately: SATB Listening CD Preview Pack Orchestration CD-ROM (Score & parts for Flute 1&2 Oboe Clarinet Horn 1&2 Piano Synth. Acoustic Guitar E. Bass Percussion 1&2 Harp Violin 1&2 Viola Cello) StudioTrax CD Split-Trax CD 10-Pack CDs RehearsalTrax CDs. Duration: ca. 37:00.
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Michael Nyman: Out Of The Ruins: SATB: Vocal Work
Choral SATB
SATB, Organ
[Sheet music]
Chester
Out of the Ruins touches on Gregorian chant and sacred music of the Baroque. Thi...
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Out of the Ruins touches on Gregorian chant and sacred music of the Baroque. This is a slowly evolving requiem that draws on Armenian traditions with no hint of Nyman’s signature propulsive rhythms.Some of the music can be heard in different form in Nyman’s third Quartet and the soundtrack for Carrington. In 1988 Armenia suffered a devastating earthquake in which caused widespread destruction and killed more than25 000 people. BBC director Agnieszka Piotrowska asked Michael Nyman to write a work to accompany a documentary she was making for the first anniversary and offered text from 10th century poet Grigor Narekatsi’s Book ofLamentations. Nyman is a contemporary British composer of richly layered modular minimalist pieces often incorporating period instruments or instrumentation outside the normal Orchestral offerings. He isparticularly well known for his film scores including The Piano The Cook The Thief His Wife and Her Lover Prospero’s Books and The Claim among many others. His work is widely performed and recorded.
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John Tavener: Let's Begin Again: SATB: Vocal Score
Choral SATB
[Vocal Score]
Chester
This singing tableau for voices instruments and children is based on the story ...
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This singing tableau for voices instruments and children is based on the story of the Dormition of the mother of God as recounted in the Apocryphal Gospel of St. John. The work uses an adult choir and instrumental group andchildren who enact the story in highly stylised mime sequences.Vocal Score with piano reduction of the orchestra score. Duration c. 60mins.
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Henry Purcell: Purcell Society Volume 20: Opera: Score
Choral SATB
SATB, Strings
[Sheet music]
-
Intermediate/advanced
Novello & Co Ltd.
Dramatic Music Part 2 (Paperback Edition)-Volume 20 of the ‘Purcell Societ...
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Dramatic Music Part 2 (Paperback Edition)-Volume 20 of the ‘Purcell Society’ series Dramatic Music Part 2 contains 16 pieces by Henry Purcell for intermediate/advanced (Grades 6-8) Voice(s) String Instruments and Continuo. The collection includes (among others) At The Close Of The Evening (The Knight Of Malta) If Thou Wilt Give Me Back My Love (A Fool's Preferment) and The Danger Is Over The Battle Is Past (The Fatal Marriage). Edited under the supervision of the Purcell Society by Ian Spink.Henry Purcell was an English composer. Although incorporating Italian and French stylistic elements into his compositions Purcell'slegacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers.The Purcell Society founded in 1876 is an organization dedicated to making the complete musical works of Henry Purcell available. Between 1876 and 1965 scores of all the known works of Purcell were published in 32 volumes.
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Antonio Vivaldi: Credo RV 591: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Carus Verlag
Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large...
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Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Piet then his primary place of employment. The composition conceived solely for choir and strings is characterized by a two-layered formal design: a continuous basic motivic idea i.e. a constant rhythmic impulse with rapid tone repetition builds an instrumental layer while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work where the text 'Et vitam venturisaeculi' is embedded in a concise fugue.
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George Harrison John Lennon Paul McCartney: Love Is All You Need: Mixed Choir
Choral SATB
SATB, Piano
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Intermediate
Hal Leonard
A Medley of 12 Beatles Classics arranged by Roger Emerson for SATB choir with P...
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A Medley of 12 Beatles Classics arranged by Roger Emerson for SATB choir with Piano accompaniment. Available in other arrangements (2-part SAB). An instrumental pack is also available for Clarinet 2 Trumpet Tenor Sax Trombone 2 Synthesisers Lead Guitar Rhythm Guitar Drums and Percussion.
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Stephen Main: Rejoice Ye Heavenly Powers: SATB: Vocal Score
Choral SATB
[Vocal Score]
Walton Music
From the composer of the prize-winning very successful The Darkest Midnight in ...
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From the composer of the prize-winning very successful The Darkest Midnight in December here is a new offering from organist and church musician Stephen Main this one for your Easter concert! School church choirs and community choirs will love this exciting celebration. If leaving out the opening SSA soli this work may be performed at other times as well. The powerful setting is sung in English with impressive organ brass and timpani accompaniment. Available separately: SATB divisi Instrumental Parts (tpt 1-2 tbn 1-2 timp). Duration: ca. 5:25.
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