By Stephen Chatman. For SSATB Choir, organ, opt trumpet (off stage) and optional congregation (Mixed Voices). General, Psalm. Psalm 121. Choral. Moderately Easy. 16 pages

SSATB Choir, Piano

SKU: CA.927600

Composed by Gabriel Faure. Arranged by Denis Rouger. Carus digital: Extra digital products. Full Score. Op. 6,2. Duration 3 minutes. Published by Carus Verlag (CA.927600).

ISBN 9790007296117. French. Text: Gautier, Theophile.

A prevailing melancholy mood is characteristic of Theophile Gautier's (1811-1872) poetry; a melancholy mood which inspired composers such as Hector Berlioz and Gabriel Faure to compose settings. Tristesse (Sadness) is taken from the 1838 collection La Comedie de la Mort (The Comedy of Death). With over 50 poems this is regarded as Gautier's major Romantic work. Although the narrator in the poem is conscious of the joy and zest for life of spring coming into bloom around him, he cannot share this: Helas! j'ai dans le coeur une tristesse affreuse. (Alas, in my heart I bear a terrible grief.). Faure's setting portrays this effect less as a dramatic sigh than a melancholic unworldliness with peaceful piano accompaniment in the minor key. This art song was originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted it to suit the requirements and expressive possibilities offered by a larger ensemble, without losing any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist.The songs have been recorded by the figure humaine chamber choir on the CD ... Wo die Zitronen bluhn (Carus 83.514).

By Tarik O'Regan. For SSATB (with divisions) and optional organ/string orchestra. This edition: NH7. Mixed Voices. New Horizons No. 7. Secular Choral Leaflet. Vocal score. 24 pages. Duration 5'

(Spiritual, for Five-Part Chorus of Mixed Voices (SSATB) with Keyboard). By Anonymous. Arranged by Joel A Ross David Lantz Iii. Mixed chorus. For Soprano, Alto, Tenor, Bass, Keyboard, Flute, SSATB Chorus, Keyboard. Choral. Piano reduction/vocal score. Standard notation. 11 pages. Published by Carl Fischer

(aus: Geistliche Chormusik). By Heinrich Schutz (1585-1672). Edited by Gunter Graulich. Arranged by Paul Horn. For SSATB Choir. SWV 371 (op. 11 no. 3). Full score available separately - see item CA.2037100. Sacred, Motets; Stuttgart Urtext editions; Occasions: Peace and Justice; Use during church year: Epiphany, Christmas. Part 2. Language: German/English. Composed 1648. 2 pages. Duration 4 min. Published by Carus Verlag

SSATB choir, organ accompaniment - Early intermediate

SKU: GI.G-3054

Composed by Johann Rosenmuller. Edited by Edward W. Klammer. Funeral. Ars Antiqua Series. Sacred. Octavo. 8 pages. GIA Publications #3054. Published by GIA Publications (GI.G-3054).

Organ ad lib part is optional.

This lovely, comforting text speaks of the joy and bliss of eternal life.

(Passionsmotette). By Johannes Driessler. For Baritone Solo, Mixed Choir: SSATB. Singing Score. Op. 9

Mixed choir (SSATB)

SKU: HL.49014219

Composed by Jim Croce. Sheet music. Edition Schott. Classical. Choral score. Schott Music #ED10834. Published by Schott Music (HL.49014219).

ISBN 9790220128639.

Angels We Have Heard on High (No. 7 from "Carols of the Nativity") arranged by Stephen Chatman. For SSATBB, opt. piano or organ (Mixed Voices). Christmas. Choral. 12 pages. Published by E.C. Schirmer Publishing

SSATBB Choir (SSATBB)

SKU: HL.50513394

Composed by E. Rubbra. Lengnick Publishing. Classical. Book Only. Alfred Lengnick & Co #AL0892. Published by Alfred Lengnick & Co (HL.50513394).

SSATB choir, divisi, piano reduction - Advanced

SKU: GI.G-9610

Composed by Peter Relph. Evoking Sound. Music Education. 20 pages. GIA Publications #9610. Published by GIA Publications (GI.G-9610).

UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.

Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.” I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora” is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.” Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,” which it then does, leaving the sopranos alone on a high G.