Choral SATB chorus - early intermediate

SKU: XC.2102011

Composed by Pinkzebra. Arranged by Pinkzebra. Octavo. Pinkzebra #2102011. Published by Pinkzebra (XC.2102011).

9 x 12 inches.

A song that invites others to discover more about us by looking deeper, beyond first impressions and preconceived ideas, to understand that we each have rich complexities to uncover. Inspiring lyrics combine with an inviting melody and pop harmonies to create a piece that is at once unifying and embracing of our individuality. Perform with the accompaniment MP3 (includes a fully produced version and a piano-only version) or with the instrumental parts for a live band, and help your students rehearse with the part-dominant MP3 practice bundle to share with your whole choir.

SATB a cappella Choral (SATB ACAPPEL)

SKU: HL.35018019

Composed by Ken Galbreath. SATB choir, a cappella. Mark Foster. Concert, Festival, Love. Octavo. 16 pages. Shawnee Press #MF4020. Published by Shawnee Press (HL.35018019).

UPC: 747510069416. 7.0x10.5x0.059 inches. Kenneth Galbreath.

For Valentine's Day, spring, or anytime, “Reflections of the Heart” is a wonderful musical triptych of love. Each of the three pieces could easily stand on its own, or the entire trio may be performed as one work. “Blessings” is a sprightly madrigal-style wish for the good health and happiness of a beloved. “Impressions” is a beautiful memory of the moment when hands first touched. “One Perfect Treasure” is an expression of true love and contentment. A must for your library!

Three Shakespeare Songs. Composed by Cecilia McDowall. New Horizons. Vocal score. 36 pages. Duration 11'. Published by Oxford University Press (OU.9780193408241).

Tenor Voice Solo (Chorsoli), SATB Choir, Piano (Org)

SKU: CA.2110205

Composed by Juliette Marie Olga (Lili) Boulanger. Edited by Michael Alber. Sacred vocal music; use during church year: Christmas; occasions: Psalms. Sacred vocal music, Christmas, Psalms. Choral Score. LB 36. 12 pages. Duration 4 minutes. Carus Verlag #CV 21.102/05. Published by Carus Verlag (CA.2110205).

ISBN 9790007187781. Language: French/English.

First critical edition. Together with Debussy, Ravel, and Dukas, Lili Boulanger was one of the most important representatives of impressionism. Despite her short life of just 24 years, she developed a distinctive personal style, and composed a wide variety of works including songs, piano music, operatic scenes, and choral music, all with huge inventiveness. In 1916, in the middle of the First World War, the composer learnt that she was ill and had only a short time to live. Her deep religiosity gave rise to works including a setting of Psaume XXIV (Psalm 24). In the version published here for mixed choir, tenor solo, and piano/ organ, this is a particularly powerful setting of the psalm and an impressive work for inclusion in an Advent church service. The edition contains both the original French text, with a singable English translation underlaid. Score available separately - see item CA.2110200.

Composed by Andre J. Thomas. Choral. Octavo. Heritage Music Press #15/3580H. Published by Heritage Music Press

Orchestra SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, 2 violins, viola, cello, contrabass, organ

SKU: CA.1036412

O Heiland, reiss die Himmel auf. Composed by Max Bruch. Edited by Minkus Teske. Violin 2. Sacred vocal music, Cantatas, Advent. Single Part, Violin 2. Composed 1868/1869. Op. 29. 8 pages. Duration 14 minutes. Carus Verlag #CV 10.364/12. Published by Carus Verlag (CA.1036412).

ISBN 9790007190392. Text language: German. Text: von Spee, Friedrich / Simrock, Karl.

Max Bruch succeeded in composing an impressive setting of the well known Advent text, O Heiland, reiss die Himmel auf (O Saviour, tear open the heavens). Compositionally it is extremely sophisticated in its construction; Bruch combines both the choir and orchestra in a powerfully expressive and moving portrayal of mankind waiting for the coming of the Saviour. Following the premiere of the work in 1869 it was celebrated as Bruch's most important choral work, but later it fell largely into oblivion. Almost 150 years after it was composed, for the first time a critical-scholarly edition is now available to the public. Score and part available separately - see item CA.1036400.

Solo bass voice, SATB choir, [flute, clarinet], 2 horns, 2 violins, [viola], basso continuo

SKU: CA.2711505

Graduale Exaudi, Dominum und Offertorium Lauda anima mea Dominum fur die Messe in Es-Dur op. 107. Composed by Anton Diabelli. Graduale + Offertorium Zur Missa In Es. Sacred vocal music, Mass sections. Choral Score. Op. 110. 4 pages. Duration 5 minutes. Carus Verlag #CV 27.115/05. Published by Carus Verlag (CA.2711505).

ISBN 9790007128739. Language: Latin.

To commemorate the 150th anniversary of the death of Anton Diabelli we are publishing the two additional movements of his first Country Mass, the remainder of which is already available. These two movements, suitable for use during any period of the Church year, are further cause to perform at church services and in concerts the Mass in E flat major, which despite its simplicity can be impressive in effect. The flexibility in the size of the orchestra intended by the composer makes this work ideal for churches whatever their instrumental resources are. Score available separately - see item CA.2711500.

Orchestra Soli SB, SATB Choir, 2 Fl, 2 Ob (auch EH), 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tuba, Timp, Perc, 2 Vl, Va, Vc, Cb

SKU: CA.2718905

Composed by Antonin Dvorak. Edited by Lucie Harasim Berna. Sacred vocal music, Whole church year / Omni tempore, Praise and thanks. Choral Score. Op. 103. 12 pages. Duration 20 minutes. Carus Verlag #CV 27.189/05. Published by Carus Verlag (CA.2718905).

ISBN 9790007186906. Language: Latin.

In 1892 Dvorak received a prestigious commission from New York to write a festive cantata to commemorate the 400th anniversary of Christopher Columbus's discovery of America. In response he wrote an impressive work in a very short space of time - his Te Deum, which expresses in celebratory style the old hymn of praise in four effective, contrasting sections. In preparing the Carus edition, a careful assessment has been made of the variant readings of the autograph score and first printed edition, drawing on these as sources. The result is that the work is newly available in a modern, scholarly edition. The complete performance material is available on sale. Score available separately - see item CA.2718900.

Orchestra SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, 2 violins, viola, cello, contrabass, organ

SKU: CA.1036449

O Heiland, reiss die Himmel auf. Composed by Max Bruch. Edited by Minkus Teske. Organ. Sacred vocal music, Cantatas, Advent. Single Part, Organ. Composed 1868/1869. Op. 29. 4 pages. Duration 14 minutes. Carus Verlag #CV 10.364/49. Published by Carus Verlag (CA.1036449).

ISBN 9790007190439. Language: German. Text: von Spee, Friedrich / Simrock, Karl. Text by Friedrich von Spee / Karl Simrock.

Max Bruch succeeded in composing an impressive setting of the well known Advent text, O Heiland, reiss die Himmel auf (O Saviour, tear open the heavens). Compositionally it is extremely sophisticated in its construction; Bruch combines both the choir and orchestra in a powerfully expressive and moving portrayal of mankind waiting for the coming of the Saviour. Following the premiere of the work in 1869 it was celebrated as Bruch's most important choral work, but later it fell largely into oblivion. Almost 150 years after it was composed, for the first time a critical-scholarly edition is now available to the public. Score and part available separately - see item CA.1036400.

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

Orchestra Soli SATB, SATB Choir, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Serpente, Timp, 2 Vl, Va, Vc, Cb, organ - Level 3

SKU: CA.4012994

Oratorio. Composed by Felix Bartholdy Mendelssohn. Carus Choir Coach. Paulus.Ccc. Compact Disc. Composed 1834-1836. Op. 36, MWV A 14. Duration 145 minutes. Carus Verlag #CV 40.129/94. Published by Carus Verlag (CA.4012994).

Language: German.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score available separately - see item CA.4012900.