Composed in 1990 and revised in 1991 for SATB Choir or soloists with Organ accompaniment Part’s setting of The Beatitudes is one of only a handful of works (Litany and And One of the Pharisees also falling into that category) composed in English. Taken from Jesus’ Sermon on the Mount as found in Matthew 5:1-12 The Beatitudes provide a fitting structure for Part’s setting. Each verse states a godly quality and the blessing attached to it; all except the last verse begin with the word ‘blessed’.The Beatitudes was premiered on 25 May 1990 at the Nathanaelkirche Berlin by the Theatre of Voices choir conducted by Paul Hillier.

Arvo Pärt's The Beatitudes – Seligpreisung composed for mixed Choir (SATB) and Organ. The Beatitudes for mixed Choir and Organ is Arvo Pärt's musical interpretation of the blessings a well-known part of the Sermon on the Mount (in the Gospel according to Matthew 5 3-12).

For SATB and Organ. This beautiful setting of The Beatitudes from Matthew's gospel exemplifies the composer's skill and versatility in writing for mixed voices. He leads the choir smoothly through a range of keys and moods from the gentle simplicity of the opening 'Bless'd are the poor in spirit' to the more dramatic and colourful 'Bless'd are ye when men shall revile you'.

Matthew 5: 3-11-This extended work by British composer Patrick Hawes uses the eight verses of St. Matthew's Gospel that form the beloved Beatitudes. Consisting of eight movements that range from uncomplicated to militaristic in nature Beatitudes explores the character of each verse through melody texture and style. The piano weaves throughout an integral part of the soundworld and the drama.

The Beatitudes is a cantata by Arthur Bliss scored for Soprano and Tenor soloists SATB Chorus and Orchestra. This is the full score a full performance of which lasts around 50 minutes. The work was commissioned by the Coventry Cathedral Festival for the opening of the new cathedral in 1962. It was first performed on 25th May 1962 by Jennifer Vyvyan and Richard Lewis with the Coventry Cathedral Festival Choir and the BBC Symphony Orchestra conducted by the composer at the Belgrade Theatre Coventry.

Par WULLNER FRANZ. Langue: Latin, German, Format: DIN A4/ Etude / Choeur Mixte (SATB)

La partition Repertoire Moderne Des Vocalises Etudes:Volume 4-Voix Moyennes a été composée pour Chant/Vocal/Choeur. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Chant/Vocal/Choeur / Partition

Ned Rorem a été décrit comme 'meilleur compositeur du monde des chansons de l'art', et ces deux oeuvres contrastées et convaincante pour choeur affirmer cette description. 'Dirge' exprimer la douleur poignante inquiétude d'amour, tandis que 'Live with Me', crée une ambiance quelque peu espiègle. Dans 12 / 8, le chant de danse au-dessus des arpèges qui coule croche dans le piano. Durée: environ 3h30. / Choeur Mixte (SATB) A Cappella / Partition

Morton Gould's Hosanna Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Ballads from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's The Early Bird from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Walkin'On Air from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Dan Forrest's breathtaking treatment of this beloved hymn is filled with emotion as heard in the flowing piano accompaniment the violin obbligato and the masterful choral writing. Together they boldly express the depth andmagnitude of God's love for us. A strong selection for the Lenten season or Holy Week. Available separately: SATB ShowTrax CD. Instrumental parts available digitally (Solo vn vn 1 & 2 va vc b). Duration: ca. 4:20.

The writing of a Requiem is a special challenge for any composer. The great Requiems of the past by composers such as Mozart Verdi and Berlioz interpret the sacred Requiem text literally offering prayers of salvation for the departed whose souls are assumed to be in purgatory facing a terrible judgement. Eternal Light: A Requiem by the award-winning British composer and internationally acclaimed broadcaster Howard Goodall is a stunning new requiem for the modern day. In contrast it is intended to provide solace to the grieving reflecting on the words of the Latin Mass by juxtaposing them withpoems in English. Speaking about the work Howard Goodall said 'For me a modern Requiem is one that acknowledges the unbearable loss and emptiness that accompanies the death of loved ones a loss that is not easily ameliorated with platitudes about the joy awaiting us in the afterlife. This like Brahms’ is a Requiem for the living addressing their suffering and endurance a Requiem focussing on the consequences of interrupted lives.” This piece of sheet music was commissioned by London Musici (Artistic Director: Mark Stephenson) to celebrate its 20th anniversary. It was commissioned as both a choral-orchestral-dance piece for London Musici The Choir of Christ Church Cathedral Oxford and Rambert Dance Company (Artistic Director: Mark Baldwin) and as a choral-orchestral work.