Traditional Spiritual/arr. John Leavitt. A popular Christmas spiritual is touched with cheerful grace in this well-considered adaptation. Tasteful choral textures and interesting inner lines adorn the classic call and response folk song. A colorful chamber orchestration completes the package on this holiday winner, appropriate for concert or sanctuary use. Jubilant! Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-3, hp, vn 1-2, va, vc, db) available as a digital download.

Handclaps spoken refrains and a dynamic piano accompaniment make this jubilant arrangement of the familiar spiritual a perfect selection for older elementary choirs or choirs of any age. The final verse includes an optional descant that heightens the sense of joy and exuberance found in this rapturous piece. Available separately: Unison/opt. 2-Part Treble CelebrationTrax CD. Duration: ca. 1:48 ScorePlay - click to view score with recording.

Expanded Chamber Score-Full sets of Jubilate Deo instrumental scores and parts required for performance are available only on rental from Hinshaw. All rentals are handled initially via email; please email rentals@hinshawmusic.com to begin your rental order.

This exciting work for more advanced choirs depicts how the earth welcomes the life-giving rain. The text alternates in Swahili and English. Building rhythms and percussion propels the choir to a jubilant ending. Percussion scoreand parts available separately. Duration: ca. 3:20.

Written in two main sections this work opens with a “lament” featuring a melodic woodwind melody in a slow minor setting. The fast “jubilation” that follows includes a driving and rhythmic theme that istraded between the brass and woodwind sections. Expertly scored for younger ensembles this will be easy to learn and exciting to perform. (2:35)

The Alleluia Jubilate was written for the Choir Schools’ Association Conference and is therefore a creation for well-trained young musicians. The opening phrases in which the conductor separates the syllables with restsis particularly effective in cathedrals and spaces with long reverberation time.Contemporary British composer and conductor James Whitbourn an award-winning creator of Choral music film and television scores and works for theconcert hall may be best known for his largest composition the oratorio Annalies which sets words from The Diary of Anne Frank.

Let The Earth Resound is a driving jubilant song by Sally K. Albrecht. It is scored for SATB voices and Keyboard with optional B Flat Trumpet accopmpaniment.

Motets is a set of intimate and spiritually uplifting a cappella choral works by Karl Jenkins, featuring new pieces and arrangements of a selection of movements from his most popular works, including The Armed Man, Requiem, Adiemus and The Peacemakers. Although scored for mixed choeur a cappella, most pieces include an optional accompaniment for piano or organ. Next to the complete vocal score (BH 12937) all 19 separate motets are also available as single pieces.Motets was recorded on Deutsche Grammophon 0289 479 3232 by Stephen Layton and Polyphony.Pages : 12Niveau : moyen - avancéLangue : Latin / Choeur et ensemble vocal / Boosey

Vocal Score of David L. Brunner's Jubilate Deo for SAB chorus Brass and Organ. The Jubilate Deo is a text form Psalm 100. This festive setting uses only the first three verses. The interplay of colours and textures of organ brass and voices is energetic and joyful.

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Large Orchestra Full Score-Full Score Only For Larger Instrumentation. Orchestration (HMB178b): 3 Tpt In C 3 Hn In F 3 Tbn Tba Organ And Percussion 3 Players: (Timp Sus. Cymbal Gong Glock Xyl B Chime)._x000D_Reduced Version (HMB178c): Organ Full Score And Percussion.Organ Score Only: (HMB178co).Recording Available (HS254cd): Jubilate! The Music Of Mack Wilberg

Sacred Masterpieces for Soprano Vol. 3-CANTOLOPERA is a publishing project that offers a completely new way of approaching the great vocal repertoire. CANTOLOPERA is made up of various series: the Favourite Opera Collection dedicated to operatic works organized by voice category; theComposers Collection devoted to individual composers; and the Songs Collection consisting of lyric songs romanzas an d traditional songs.The editions include a vocal score and one or more CDs containing for each number a complete versionand the respective orchestral accompaniment over which students enthusiasts and professionals can practise. Each volume also contains the texts to be sung in both ltalian and English accompanied by a note on their context as well as informationon the performers and the Compagnia d Opera Italiana with its orchestra of over 130 instrumentalists.