SKU: ST.EM21
ISBN 9790220200854.
CONTENTS Adieu, sweet love (SSA(or T)B) Alas, where is my love? (SSA(or T)TB) And must I needs depart? (SSATB) Ay me, my mistress scorns (SST) Beauty is a lovely sweet (SAT) Come, follow me, fair nymphs (SAT) Dame Venus hence to Paphos go (SSAT) Dear if you wish my dying (SSATTB) Down from above falls Jove (SATB) Fair Hebe, when dame Flora (SST(or A)T(or A)TB) Hark, hear you not? - Oriana's farewell (SSATB) If love be blind (SATB) Love would discharge (SST) Merrily my love and I (SST(or A)T(or A)B(or T)B) Music some think no music is (SSATTB) O fly not, love (SSA(or T)A(or T)T) Phyllis, farewell (SATB) Phyllis, farewell (SSA(or T)A(or T)TB) Sister, awake (SSATB) Strange were the life (SAATB) Sweet Gemma (SSATB) The nightingale so soon as April (SST(orA)) Those sweet delightful lilies (SSATB) Thyrsis on his fair Phyllis' breast (SSAA(or T)TB) When Oriana walked (SSATTB) Who prostrate lies (SSAT(or A)B) Wither so fast? (SATB) Yet stay alway (SSA(or T)TB) Your shining eyes (SAB).
SKU: HL.14005363
Composed in 1981, this work is a setting of a sequence from the Mass for the Feast of St Thomas, found in the missal of the Hereford use. The text is a conventional hymn of praise but it is distinguished by a lively and attractive rhythm, and as this rhythm would have been lost in translation, I have set it in the original Latin. The work is in the form of theme and variations and is characterised by a gradual crescendo throughout. It begins very quietly with solo timpani and then the choir sing the theme in unison, unaccompanied by flutes, bells, timpani and lower strings.
SKU: C4.9790902260473
ISBN 9790902260473. 8.27 x 11.7 inches.
Forming part of the A Distant Music anthology, Praise: Psalms and Prayers 1 showcases 20 sacred choral works by Australian composers, most published here for the first time.Containing a variety of accompanied and unaccompanied works, Praise: Psalms and Prayers 1 offers choirs access to quality Australian sacred music. Settings include texts from the Book of Psalms, well-known prayers as well as a spiritual poem by Australian Erica Jolly.The 90-page volume covers a range of abilities and variety of compositional styles.
SKU: HL.1122017
ISBN 9781705181744. UPC: 196288108986.
A Good Understanding (2005) was written for Tim Brown and the choir of Clare College, Cambridge with the generous cooperation of John Scott and the Boys of Saint Thomas Church Fifth Avenue. A Good Understanding, with texts culled from two psalms, is designed to share a program with Rutter's expansive and expressive Mass of the Children. The piece unfolds episodically short choral phrases alternating with longer instrumental interludes. The first half of the text is typical psaltry praise-making: outlining agreements, explaining the rules; the music is, accordingly, severe but practical. The second half of the text begins, The fear of the Lord is the beginning of wisdom/a good understanding have all they that do his commandments.?I find the idea of a good understanding?to be an especially exciting reward for following the rules; the boys sing pulsed syllables and long descants to celebrate the covenant while the choir sings a lilting, repetitive refrain. (Psalm 111, 10). - Nico Muhly.
SKU: CA.3115305
ISBN 9790007183431. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.
SKU: CA.3115314
ISBN 9790007208707. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.
SKU: CA.3115319
ISBN 9790007183448. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and parts available separately - see item CA.3115300.
SKU: CA.3115300
ISBN 9790007181543. Text language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola.
SKU: CA.3115349
ISBN 9790007208714. Language: German/English.
SKU: CA.3115303
ISBN 9790007183424. Language: German/English.
SKU: CA.3115311
ISBN 9790007208677. Language: German/English.
SKU: CA.3115313
ISBN 9790007208691. Language: German/English.
SKU: CA.3115312
ISBN 9790007208684. Language: German/English.
SKU: SU.91480530
Vs. 2-5 Text: The First Letter of Peter: Chapter 2.
The words, Surely thou hast tasted that the Lord is good, open the anthem. This gentle and lyrical section, marked by dialogue between the sections of the choir, unfolds and eventually reaches a climax on the words precious in the sight of God. A quick, energetic and imitative middle section soon emerges to proclaim the words, Come, and let yourselves be built, as living stones, into a spiritual temple. Here the spirit of medieval music, the building stones for Western music, is invoked. After the anthem’s primary climax is reached on the words Jesus Christ, a solo soprano emerges from the choral texture to close this work with a serene Amen. The first performance of Dan Locklair’s anthem, In the sight of God took place on Sunday 4 October 2009. The occasion was Dedication Sunday, and the text was selected by John Scott from The First Letter of Peter, vv 2-5. Professor Locklair has provided us with a delightful addition to our repertoire at St Thomas. The work is grateful to sing, well written for voices, lyrical in style with a well-crafted sense of architecture and climax. In every sense it is an enjoyable piece for the choir, quite approachable, and judging from the many positive comments I heard afterwards from members of the congregation, it was very well received. -- Reflections on the premiere by John Scott, Director of Music, St. Thomas Church Fifth Avenue, New York, NY SATB Chorus, a cappella Duration: 4' Text: The First Letter of Peter: Chapter 2, vs. 2-5 Composed: 2009 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusic.com (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440. YouTube:.
SKU: ST.EM4
ISBN 9790220211263.
CONTENTS About the maypole (SATTB) Dainty fine sweet nymph (SSATB) Fire, fire my heart (SST (or A) TB) I love, alas, I love thee (SAABB) I saw my lovely Phillis (SSATB) Lady those cherries plenty (ST (or A) TTB) Leave alas this tormenting (SSATB) Lo she flies (SSATB) My bonny lass she smileth (Questo dulce sirena) (SAATB) My lovely wanton jewel (SSATB) No no Nigella (SSATB) Now is the month of Maying (SATTB) Phillis I fain would die now (Dialogue SSAATTB) Shoot false love I care not (SSATB) Sing we and chant it (A lieta vita) (SSATB) Singing alone (SAATB) Those dainty daffadillies (SAT (or A) BB) Thus saith my Galatea (SSATB) What saith my dainty darling? (SSAA (or T) B) Why weeps alas (SATTB) You that want to my pipes sound (SSATB).
SKU: CA.4019606
ISBN 9790007181482. Language: German.
The Christmas oratorio Die Geburt Christi op. 90 was first performed in 1894 in the St. Thomas Church in Strassburg and today it has been rediscovered. It is the first of a trio of so-called church oratorios by Brahms's friend, Heinrich von Herzogenberg. It was followed by Die Passion op. 93 and Erntefeier op. 104, all of which have been published by Carus in reprints of earlier editions. With these works which are partly neo-baroque, partly late romantic choral works, Herzogenberg commits himself to a new form of the Protestant worship service characterized by a high artistic level, but still near to the congregation. Allowing the choir to be accompanied by instruments outside the closed liturgical form of the service goes back to a concept of the theologian from Strasbourg, Friedrich Spitta. Since Christmas was a good occasion for the choir to perform independently, Spitta decided to put together the text for a Christmas oratorio and to commission Herzogenberg to realize it musically. Score available separately - see item CA.4019600.
SKU: CA.4019605
ISBN 9790007064877. Language: German.
SKU: CA.4019619
ISBN 9790007133146. Language: German.
The Christmas oratorio Die Geburt Christi op. 90 was first performed in 1894 in the St. Thomas Church in Strassburg and today it has been rediscovered. It is the first of a trio of so-called church oratorios by Brahms's friend, Heinrich von Herzogenberg. It was followed by Die Passion op. 93 and Erntefeier op. 104, all of which have been published by Carus in reprints of earlier editions. With these works which are partly neo-baroque, partly late romantic choral works, Herzogenberg commits himself to a new form of the Protestant worship service characterized by a high artistic level, but still near to the congregation. Allowing the choir to be accompanied by instruments outside the closed liturgical form of the service goes back to a concept of the theologian from Strasbourg, Friedrich Spitta. Since Christmas was a good occasion for the choir to perform independently, Spitta decided to put together the text for a Christmas oratorio and to commission Herzogenberg to realize it musically. Score and parts available separately - see item CA.4019600.
SKU: CA.4019608
ISBN 9790007076221. Language: German.
The Christmas oratorio Die Geburt Christi op. 90 was first performed in 1894 in the St. Thomas Church in Strassburg and today it has been rediscovered. It is the first of a trio of so-called church oratorios by Brahms's friend, Heinrich von Herzogenberg. It was followed by Die Passion op. 93 and Erntefeier op. 104, all of which have been published by Carus in reprints of earlier editions. With these works which are partly neo-baroque, partly late romantic choral works, Herzogenberg commits himself to a new form of the Protestant worship service characterized by a high artistic level, but still near to the congregation. Allowing the choir to be accompanied by instruments outside the closed liturgical form of the service goes back to a concept of the theologian from Strasbourg, Friedrich Spitta. Since Christmas was a good occasion for the choir to perform independently, Spitta decided to put together the text for a Christmas oratorio and to commission Herzogenberg to realize it musically. Score and part available separately - see item CA.4019600.
SKU: ST.EM34
ISBN 9790220217746.
Chiefly remembered in performance nowadays for his beautiful Sweet Suffolk Owl, Vautor represented the conventional, anonymous polyphony of the successors to Gibbons and Weelkes - but there are still trouvailles in these 22 pieces. CONTENTS Ah, sweet, whose beauty (SSATB) And yet, O dream (SSA (or T) TB) Blush, my rude present (SSATTB) Come forth, sweet nymph (SSAT (or A) B) Cruel Madame (SSATB) Dainty sweet bird (SSATTB) Fairest are the words (SSATB) Lock up, fair lids (SSATB) Melpomene, bewail (SS and instruments) Mira cano, sol occubuit (SSATB) Mother I will have a husband (SSATB) Never did any more delight (SSATB) O merry world (SSAT (or A) B) Shepherds and nymphs (SSATTB) Sing on, sister, and well met (SSATB) Sweet Suffolk owl (SSAT (or A) B) Sweet thief (SSATB) Thou are not fair (SSAT (or A) B) Unkind, is this the meed? (SSATTB) Weep, weep, mine eyes (SS and instruments) Whilst fatal sisters (SSATTB) Yet love me not (SSAT (or A) B).
SKU: ST.EM18
ISBN 9790220216930.
Though better known as a composer of church and keyboard music, Tomkins wrote secular vocal music that offers a compendium of all the various styles: canzonets, balletts, madrigals and 'sacred songs'. Each was dedicated to one of his relatives, a friend or a colleague. The names of these 28 dedicatees form a fascinating list at the end of the book.CONTENTS Adieu, ye city-poisoning towers (SSATB) Cloris, whenas I woo (SSATB) Come, shepherds sing with me (SSATB) Fond men, that do so highly prize (SST (or A)) Fusca, in thy starry eyes (SSATB) How great delight (SST) It is my well-beloved's voice (SSATTB) Love, cease tormenting (SSA (or T)) Music divine (SSATTB) No more I will thy love (SATB) O let me die for true love (SATB) O let me live for true love (SATB) Oft did I marle (SSAATB) Our hasty life away dost post (SST) Oyez! Has any found a lad? (SATB) Phyllis, now cease to move me (SSATB) Phyllis, yet see him dying (SSATB) See, see the shepherds' Queen (SSATB) Sure there is no god of love (SSA) The fauns and satyrs tripping (SSATB) To the shady woods (SSATB) Too much I once lamented (SSATB) Turn unto the Lord (SSATTB) Was ever wretch tormented? (ST (or A) TB) Weep no more, thou sorry Boy (SATB) When David heard (SAATB) When I observe (SSAATB) Woe is me (SSATBB) Yet again, as soon revived (SAT (or A) B).
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