SKU: CA.967820
ISBN 9790007241377. Language: Latin.
Matsushita's Ave Maria is a very intimate short unaccompanied piece of true inward devotion. An experienced composer, Matsushita has chosen a tonal musical language for this homophonic piece. His enchanting modulations, well-placed and precisely-judged, are particularly effective without overloading the simple character of the work. All the parts are written in comfortable registers throughout and without divisi, so that the piece can easily be performed by all choirs. In short: a jewel! Score available separately - see item CA.967800.
SKU: BC.108737
SKU: AP.43605
UPC: 038081491455. English.
A plaintive opening expands into lush four-part harmony in this compelling a cappella concert selection. Meditative and earnest, Sally's glorious setting of the prayerful text will inspire your finest singers.
SKU: BT.HU-0363-250
Latin.
SKU: XC.TTBB2101
UPC: 812598038385. 6.75 x 10.5 inches.
Marshall Webb has taken this classic text and set it with his original music in a beautiful and contemporary way. This will be a rewarding challenge for men's choir, and can be used in a variety of holiday or concert settings.
SKU: BT.HU-0144-250
SKU: BT.HU-3371-250
SKU: BT.HU-0509-250
SKU: BT.WHND00332
SKU: HL.14018993
ISBN 9788759850978. 7.25x10.25x0.061 inches. Latin.
This set of three motets for unaccompanied male choir sets the Latin words for the De Profundis, Ave Maria and Laudate and manifests Lewkovitch's fascination both with chant and with modality.Contemporary Danish composer, conductor and Organist Bernhard Lewkovitch has followed a rare path among modern composers. From 1947 he was Organist at St Ansgars Kirches and later remained connected with the Catholic Church by working as an Organist. Clearly he is inspired by the Catholic liturgy and sees his great output of ecclesiastical music as a vocation and a great responsibility. For many years his work by inspired by Gregorian chant and was composed in church modes, then inthe mid 1950's he began to expand into modern bitonality and polytonality, culminating in Il cantico delle creature in 1962/3 in which there was no conventional notation and no fixed pitch. After that, Lewkovitch had somewhat of a hiatus, later returning again to the inspirations of the mid1950's.
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