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Movement
Choral SATB
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
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ORGAN
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RECORDER
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UKULELE
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VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
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Aaron Jay Kernis: Choral Movements from Ecstatic Meditations: Double Choir:
Choral SATB
SATB
[Sheet music]
Associated
No. 2 - How the Soul Speaks to God-For double mixed chorus a cappella. This is t...
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No. 2 - How the Soul Speaks to God-For double mixed chorus a cappella. This is the second movement of Kernis' Ecstatic Meditations which includes Effortlessly Love Flows How the Soul Speaks to God I Cannot Dance O Lord and How God Answers theSoul. Ecstatic Meditations was composed in 1999 for Philip Brunelle and the Plymouth Music Series Ensemble Singers and Choir. Like all of Kernis' music it ‘bears the unmistakable stamp of a wildly fertile musicalimagination…with rich poetic imagery.’ The text is by Mechthild of Magdeburg translated by Jane Hirshfield.Named one of 75 ‘American Masterpieces of Choral Music’ by the National Endowment for the Arts.
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Three Movements for Advent: SATB: Vocal Score
Choral SATB
[Vocal Score]
Shawnee Press
Commissioned for Together We Sing by the ACDA 2001 National Convention in San An...
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Commissioned for Together We Sing by the ACDA 2001 National Convention in San Antonio Texas “Three Movements for Advent” is a walk through music history with each movement standing out in its own distinctmusical style. Each of the three movements could stand alone as an impressive Advent anthem but the work in its entirety is an experience not to be missed.
17.50 GBP - Sold by Musicroom UK
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Ludwig van Beethoven: The Choral Symphony (Last Movement): SATB: Vocal Score
Choral SATB
satb (soli), SATB (choir), Orchestra
[Vocal Score]
Novello & Co Ltd.
A new vocal score for the last movement from Beethoven's famous Ninth Symphony i...
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A new vocal score for the last movement from Beethoven's famous Ninth Symphony in D Minor (The Choral Symphony) containing the popular Ode To Joy.German text by Johann Christoph Griedrich von Schiller with English version by Natalia Macfarren.Revised by Michael Pilkington. Includes piano reduction of the orchestral score.
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Thomas Hewitt Jones: You Left Your Mark On Me: SATB: Vocal Score
Choral SATB
[Vocal Score]
Boosey and Hawkes
Nr. 1 aus The Same Flame-Commissioned by the Somerset England based charity Ch...
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Nr. 1 aus The Same Flame-Commissioned by the Somerset England based charity Churchill Music! The Same Flame was inspired by Pierre de Coubertin?s ideals of Olympism which gave rise to the modern Olympic and Paralympic values: Respect Excellence Friendship Courage Equality Determination and Inspiration. These seven values are celebrated in five movements so four of them had to double up ? Friendship with Equality and Courage with Determination. Each movement is scored for slightly different choral forces so the work is varied. Also individual movements may suit different choirs giving the opportunity for individual performance or collaboration between choirs. All fivemovements of The Same Flame are published as individual octavos. A complete vocal score is available on request from the publishers.This movement is essentially a surge of enthusiasm an outpouring of grateful hyperbole from one who?s inspired towards one who inspires. Though mostly homophonic this quick-moving movement will offer an element of challenge to a choir ? the reward will be an exciting and engaging piece of music.
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Thomas Hewitt Jones: Guts And Grace: SATB: Vocal Score
Choral SATB
[Vocal Score]
-
Intermediate
Boosey and Hawkes
No. 3 from The Same Flame-Commissioned by the Somerset England based charity C...
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No. 3 from The Same Flame-Commissioned by the Somerset England based charity Churchill Music! The Same Flame was inspired by Pierre de Coubertin’s ideals of Olympism which gave rise to the modern Olympic and Paralympic values: Respect Excellence Friendship Courage Equality Determination and Inspiration. These seven values are celebrated in five movements so four of them had to double up – Friendship with Equality and Courage with Determination. Each movement is scored for slightly different choral forces so the work is varied. Also individual movements may suit different choirs giving the opportunity for individual performance or collaboration between choirs. All fivemovements of The Same Flame are published as individual octavos. A complete vocal score is available on request from the publishers.Inspired by the title of a book by Mary Ann Radmacher ‘Courage doesn’t always roar’ Guts and Grace considers courage and determination as essentially private qualities mothered by dark necessity but on occasion needing to step up publicly especially in the sporting arena and ‘roar’. This movement is intense and charged with emotion and gives opportunity for sections of the choir to shine individually as well as a beautiful soaring soprano solo section in the middle.
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Richard Rodney Bennett: Calico Pie - 1st Movement for SATB Chorus: SATB: Vocal
Choral SATB
SATB
[Sheet music]
Novello & Co Ltd.
Calico Pie - 1st Movement for SATB Chorus
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John Rutter: Gloria - First Movement: SATB: Vocal Score
Choral SATB
[Vocal Score]
Oxford University Press
The first movement of John Rutter's Gloria as arranged for SATB with orchestral...
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The first movement of John Rutter's Gloria as arranged for SATB with orchestral reduction.
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Amadeo Vives: Bohemios Movement 3 Escenas Y Coro: SATB: Vocal Score
Español
Choral SATB
[Vocal Score]
Unión Musical Ediciones
Bohemios Movement 3 Escenas Y Coro
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Dan Forrest: Jubilate Deo: Movement 1 from Jubilate Deo: Mixed Choir a Cappella:
Choral SATB
[Vocal Score]
Hinshaw Music Inc.
Jubilate Deo: Movement 1 from Jubilate Deo
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Dan Forrest: Ngokujabula: Movement 4 from Jubilate Deo: Mixed Choir a Cappella:
Choral SATB
[Vocal Score]
Hinshaw Music Inc.
Dan Forrest's Jubilate Deo brings to life the global aspect of the traditional P...
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Dan Forrest's Jubilate Deo brings to life the global aspect of the traditional Psalm 100 by setting it in seven different languages and drawing from a wide spectrum of musical influences. Here movement 4 shifts to Africa setting portions of the text in Zulu and drawing from African vocal and drumming traditions. Works well in the context of the entire work or standing alone.
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John H. Foulds: World Requiem (Movements 7-12)(Vocal Score): SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Novello & Co Ltd.
Movements 7-12 only. Composed in 1919 on reflection of the First World War.
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James Whitbourn: Requiem Canticorum: SATB: Vocal Score
Choral SATB
[Vocal Score]
Chester
Requiem canticorum is a five-movement work of 12 - 14 minutes’ duration. ...
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Requiem canticorum is a five-movement work of 12 - 14 minutes’ duration. Its title means 'a Requiem of song' or 'a Requiem of canticles' indicating that it is a commemorative piece which sets texts associated with theRequiem mass rather than being a full Requiem. It is scored for choir soprano saxophone and organ a scoring it shares with the 'Son of God Mass' by the same composer.It can be performed as a concert piece or as afree-standing anthem within the context of a commemorative event or liturgy.‘Requiem canticorum’ can also be performed in conjunction with selected movements from the ‘Son of God Mass’ to make a full concert Requiem. Thekey-structure of the two works allows for a seamless intertwining and in concert should be performed in the sequence indicated below. When performed in this way the sequence can be given the title 'Requiem' or 'Requiem Son of GodMass' in a concert programme.Introit (Requiem canticorum)Pie Jesu (Requiem canticorum)Kyrie (Son of God Mass)Alleluia (Requiem canticorum)De profundis (Requiem canticorum)Sanctus and Benedictus (Son ofGod Mass)Pax Domini (Son of God Mass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum)Amen (Son of God Mass)Additionally some of the work can be used within a Requiem liturgy the followingmovements having a liturgical place:Introit (Requiem canticorum) until bar 68Kyrie (Son of God Mass)Alleluia (Requiem canticorum)or De profundis (Requiem canticorum)Sanctus and Benedictus (Son of GodMass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum) and Amen (Son of God Mass).'There is real depth and sincerity to Whitbourn's writing lending an atmosphere of solemnity and reassuring calm. The thickhomophonic scoring and complementary modal flourishes from the Sax imbue the piece with an eastern ambience only occasionally brought back to western shores by the limited use of Organ. Low basses are essential but otherwise the
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Eskil Hemberg: Eighteen Movements (Collection): SATB: Vocal Score
Choral SATB
[Vocal Score]
Walton Music
Eighteen Movements (Collection)
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Triptych (Vocal Score)
Choral SATB
SATB, Orchestra
Novello & Co Ltd.
Cantata for string orchestra and chorus. Triptych represents the concatenation a...
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Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes
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John Joubert: Pro Pace Motets for Double Choir: SATB: Vocal Work
Choral SATB
[Vocal Score]
Novello & Co Ltd.
Pro Pace Motets for Unaccompanied Chorus is a set of three motets using text fro...
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Pro Pace Motets for Unaccompanied Chorus is a set of three motets using text from three medieval writers to explore the theme of peace. The music incorporates early modes as well as making effective use of free atonality all with a thorough grounding in compositional structure. Each of the movements for unaccompanied Chorus has slightly different voicing SAATBB SATB and SSATBB which should satisfy an ambitious Chorus. The first movement Libera Plebem transforms a medieval prayer for deliverance from the Black Death into a more general prayer for deliverance from destruction. The second movement is a Lament for the invention of weaponry. The third movement O TristiaSecla Priora celebrates Christ’s ultimate non-violent victory.John Joubert is a contemporary composer of South African birth who has lived worked and taught in the UK for the whole of his adult life. He is particularly celebrated for his Choral works though his oeuvre includes symphonies operas chamber music and other works.
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Tarik O'Regan: Triptych: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Novello & Co Ltd.
Cantata for string orchestra and chorus.Triptych represents the concatenation an...
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Cantata for string orchestra and chorus.Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church Spitalfields on 18th December 2004; the work premièred as Threnody was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December 2004. Movements II and III commissioned by Portsmouth Grammar School with financial support from the PRS Foundation were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by thePortsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy’s poem of the same name written at the signing of the Armistice on 11th November 1918; a couplet from which is set in a moment of tranquillity in the final movement.Relatively new to living in New York I am much more aware of the independent vibrant cultural plurality that exists today; it’s probably the single most dazzling facet of the City and is largely responsible for the infamous ‘edginess’ that pervades daily life there. With this in mind I set to work on Threnody (movement I here) in 2004; I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City ‘edge’. The texts in English are excerpted from a variety of sources: William Penn William Blake the Psalms of David and Muhammad Rajab Al-Bayoumi an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations this movement was the first composition that evolved entirely from my New York perspective.From the moment that the commission for And There Was a Great Calm (movements II & III here) was offered I knew the piece I was
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Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
Choral SATB
SATB, Piano
[Sheet music]
Carus Verlag
Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata...
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Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Piano
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Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
Choral SATB
SATB, Orchestra
[Sheet music]
Carus Verlag
Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata...
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Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre
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Paul Smith: Pas de deux: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Peters
Five dance-inspired movements for SATB and Piano-Written for SATB choir and pian...
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Five dance-inspired movements for SATB and Piano-Written for SATB choir and piano with optional audience participation Pas de deux is a work consisting of five movements by Paul Smith the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as one complete work. Pas de deux is inspired by the dance duet found in ballet and the music takes the duet element of the dance to create a relationship between the performers and audience enabling interaction between them and giving the option for performers and audience to make music together. Suitable for all ages this piece offers opportunities both to create and to perform informed by Paul Smithâ??s expertise in leadingparticipatory music events with hundreds of thousands of people around the world. A five-movement work inspired by the dance pas de deux Incorporates a wide range of musical styles from contemporary classical to traditional Zulu Encourages a musical interaction between performer and audience Suitable for singers (and audiences) of all ages Incorporates well-known themes from the ballets of Tchaikovsky Paul Smithâ??s Pas de deux is part of the Edition Peters Choral Workshop Series.
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George Dyson: Quo Vadis: SATB: Vocal Score
Choral SATB
SATB, Orchestra
[Vocal Score]
Novello & Co Ltd.
Dyson's sumptuous choral epic of 1938 subtitled ‘A Cycle of Poems’...
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Dyson's sumptuous choral epic of 1938 subtitled ‘A Cycle of Poems’ charts man's journey through life and the afterlife using a collage of English poems. Quo Vadis is a work that in its aim design and achievement reaches for visionary heights. Right from the start Dyson's harmonic language and skilful orchestration are completely at the service of his beautiful and carefully crafted libretto. The composer fervently believed in the English choral movement's need for practical tuneful and lively music. Quo Vadis with its colourful orchestration and fine melodies demonstrates the effectiveness of this aestheticapproach. Arranged for SATB Chorus and Orchestra this major yet often overlooked piece lasts about 90 minutes in 9 movements.Sir George Dyson was a well-known English musician and composer of the 20th century. His compositions include a symphony in G major a violin concerto and a number of other works many of them for choir. Apart from his musical career Dyson was involved with the military during WWI his handbook on grenade-fighting techniques became the standard Army text for many years.
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Wolfgang Amadeus Mozart: Regina coeli in C major K.108: Vocal: Score
Choral SATB
SATB, Orchestra
[Sheet music]
Barenreiter
In its expression and structure the ?Regina coeli? K.108 (74d) in four movement...
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In its expression and structure the ?Regina coeli? K.108 (74d) in four movements composed in Salzburg in May 1771 clearly shows that Neapolitan church music served as Mozart?s model. The two outer movements in which a primarily homophonic chorus unfolds against a rich orchestral backdrop enclose two soprano arias sparkling with coloraturas of which the first aria has a choral epilogue at the end of each of its two sections. Appositely the last movement also picks up the solo-tutti contrast which in addition underscores the predominant role of the solo soprano characteristic of the entire composition.Urtext of the New Mozart EditionFull score &performance material (BA4886) and vocal score (BA4886-90) for sale
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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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Herbert Howells: Hymnus Paradisi (Full Score): SATB: Score
Choral SATB
SATB, Orchestra
[Sheet music]
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Intermediate/advanced
Novello & Co Ltd.
This is the full score of Herbert Howells' 1950 composition Hymnus Paradisi for...
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This is the full score of Herbert Howells' 1950 composition Hymnus Paradisi for Soprano and Tenor Soli SATB chorus and orchestra. Now available for the first time in print this score has been prepared from the known sources revised and edited with critical commentary and includes a preface by Paul Spicer and introductory notes by Sir David Willcocks. Four of the choral movements (II-V) are settings of Latin and English texts. These are drawn from the Psalms and the 'Miss pro defunctis' the book of Common Prayer and are immemorial reflections upon the transient griefs and indestructible hopes of mankind. All are appropriate to the mood and purpose ofa Requiem. Movement VI is a setting of lines from the Salisbury Diurnal used here in the translation by Dr G. H. Palmer appearing at the end of Robert Bridges' Anthology The Spirit of Man. The first performance was at the Three Choirs Festival at Gloucester on 7th September 1950 which the composer conducted. The Bach Choir gave the first London performance early in 1951 and recorded the work in 1970 with the Philharmonia Orchestra under Sir David Willcocks.
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John Harbison: But Mary Stood: SATB: Vocal Score
Choral SATB
[Vocal Score]
Associated
In four movements. The first two choral movements memorialize the composer's mot...
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In four movements. The first two choral movements memorialize the composer's mother and mother-in-law. The final movement depicts Mary Magdalene inspired by Harbison's work with Bach's St. John Passion.
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STABAT MATER (DVORAK ANTONIN) (DVORAK ANTONIN)
Choral SATB
SATB, Piano
Carus Verlag
Par DVORAK ANTONIN. Antonin Dvorák?s impressive Stabat Mater for soloists, chor...
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Par DVORAK ANTONIN. Antonin Dvorák?s impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer?s sacred works. Some painful experiences in 1875 his first daughter died, and in 1877 he lost two other children in quick succession may have led to Dvorák?s preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-publishedarrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation. / Date parution : 2023-06-02/ Répertoire / Choeur Mixte SATB et Piano
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Magnificat (BACH CARL PHILIPP EMMANUEL)
Choral SATB
SATB, Orchestra
[Sheet music]
Carus Verlag
Par BACH CARL PHILIPP EMMANUEL. C. P. E. Bach's nine-movement Magnificat (1749),...
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Par BACH CARL PHILIPP EMMANUEL. C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the 'Hymn to the Virgin Mary” (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive ('empfindsam”) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme./ Répertoire / Choeur Mixte (SATB) et Orchestre
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Sunleif Rasmussen: Songs of Solitude and Night (Recorder Part): Mixed Choir and
Choral SATB
SATB, Flute
Wilhelm Hansen
Songs of Solitude and Night (Recorder Part). Solo recorder part. ?Songs of Solit...
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Songs of Solitude and Night (Recorder Part). Solo recorder part. ?Songs of Solitude and Night? is in two movements. The first movement has text from Völuspá from the Old Edda, and is called ?Prelude?. The text is about creation of the earth, the stars, the sun, the moon and the first people on earth, Ask and Embla. The second movement is a poem by the faroese author William Heinesen translated into english by the faroese author Gunnar Hoydal and is called ?Hogboy?. The poem begins like this: ?Hogboy, the spectre with the cheery name, lives in the mound Maeís Hove in the Orkney island of Pomona. Here you can hear him singing bewildered songs in the dark. Playful Pomona girls are dancing in the moonlight around the old grave"
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Paul Carey: Play with Your Food!: SATB: Vocal Score
Choral SATB
[Vocal Score]
Walton Music
This clever lighter concert number for more advanced choirs is a three movement...
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This clever lighter concert number for more advanced choirs is a three movement set featuring humorous texts by poets May Swenson Sid Hoddes and Grey Held inventively interpreted for choirs by composer Paul Carey. A challenging performance piece but a lot of fun! Movement titles: Summer's Bounty Mashed Potato/Love Poem Vending Machine. Total Duration: ca. 7:00. (Movements may be performed separately.)
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