Piano - Early Advanced; Late Intermediate SKU: AP.47913 Piano Arrangem...(+)
Piano - Early Advanced;
Late Intermediate
SKU:
AP.47913
Piano
Arrangements for the
Opening of Worship
Services. Composed by
Carol Tornquist. Other
Church; Piano Collection;
Worship Resources.
Worship Essentials.
Contemporary Christian;
Sacred. Book. 40 pages.
Alfred Music #00-47913.
Published by Alfred Music
(AP.47913).
ISBN
9781470642150. UPC:
038081549255.
English.
The
Worship Essentials series
offers a valuable
resource for church
pianists that includes
collections with
accessible piano
arrangements specifically
for preludes,
offertories, and
postludes. This book
includes selections of
contemporary Christian
hits appropriate for
prelude music. Titles:
10,000 Reasons (Bless the
Lord) (Matt Redman) *
Come As You Are (Crowder)
* Come, Now Is the Time
to Worship (Brian
Doerksen) * Glorious Day
(Living He Loved Me)
(Casting Crowns) * Good
Good Father (Chris
Tomlin) * Here I Am to
Worship (Light of the
World) (Tim Hughes) *
Hosanna (Praise Is
Rising) (Paul Baloche) *
How Deep the Father's
Love for Us (Stuart
Townend) * How Great Is
Our God (Chris Tomlin) *
Jesus Messiah (Chris
Tomlin) * Revelation Song
(Jennie Lee Riddle) *
You're Worthy of My
Praise (David Ruis).
Piano - Early Advanced; Late Intermediate SKU: AP.47915 Piano Arrangem...(+)
Piano - Early Advanced;
Late Intermediate
SKU:
AP.47915
Piano
Arrangements for the
Close of Worship
Services. Composed by
Carol Tornquist. Other
Church; Piano Collection;
Worship Resources.
Worship Essentials.
Contemporary Christian;
Sacred. Book. 40 pages.
Alfred Music #00-47915.
Published by Alfred Music
(AP.47915).
ISBN
9781470642174. UPC:
038081549279.
English.
The
Worship Essentials series
offers a valuable
resource for church
pianists that includes
collections with
accessible piano
arrangements specifically
for preludes,
offertories, and
postludes. This book
includes selections of
contemporary Christian
hits appropriate for
postlude music. Titles:
Cry of My Heart (Terry
Butler) * Days of Elijah
(Robin Mark) * Even So
Come (Come Lord Jesus)
(Chris Tomlin) *
Everlasting God (Brenton
Brown) * I Am Not Alone
(Kari Jobe) * I Lift My
Eyes Up (Brian Doerksen)
* Indescribable (Jesse
Reeves and Laura Story) *
Lord, Reign in Me
(Brenton Brown) * Mighty
to Save (Hillsong
Worship) * Our God (Chris
Tomlin) * Redeemed (Big
Daddy Weave) * Sing to
the King (Billy Foote) *
Take My Life (Holiness)
(Scott Underwood) * This
Is Amazing Grace (Phil
Wickham) * Trust in You
(Lauren Daigle) * Whom
Shall I Fear (God of
Angel Armies) (Chris
Tomlin).
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Cello 1. Composed 1901.
12 pages. Duration 35
minutes. Carus Verlag #CV
27.311/14. Published by
Carus Verlag
(CA.2731114).
ISBN
9790007201562. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Viola 1. Composed 1901.
16 pages. Duration 35
minutes. Carus Verlag #CV
27.311/12. Published by
Carus Verlag
(CA.2731112).
ISBN
9790007201548. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Cello 2. Composed 1901.
12 pages. Duration 35
minutes. Carus Verlag #CV
27.311/15. Published by
Carus Verlag
(CA.2731115).
ISBN
9790007201579. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Double Bass. Composed
1901. 12 pages. Duration
35 minutes. Carus Verlag
#CV 27.311/16. Published
by Carus Verlag
(CA.2731116).
ISBN
9790007201586. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed by Felix Mendelssohn, Gustav Holst, G. F. Handel, J. S. Bach, Johann...(+)
Composed by Felix
Mendelssohn, Gustav
Holst,
G. F. Handel, J. S. Bach,
Johannes Brahms, Richard
Wagner, Edward Elgar,
Benedetto Marcello,
Jeremiah
Clarke, Michael
Burkhardt,
Leon Boellmann,
Jean-Joseph
Mouret. Arranged by
Michael
Burkhardt. Non
Hymn-Based,
Classical Transcription.
Building Dedication,
Church
Anniversary, Marriage,
21st
Century,
Benediction/Sending,
Gathering/Processional,
Music,
Praise/Thanksgiving.
Published by MorningStar
Music Publishers
Now thank we all our God Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
(Cantate for harvest festivals (Tempore Messis) and other festivals of thanksgiv...(+)
(Cantate for harvest
festivals (Tempore
Messis) and other
festivals of
thanksgiving). Composed
by Georg Philipp Telemann
(1681-1767). Edited by
Jurgen Neubacher. For
SATB vocal soli, SATB
choir, flute (recorder),
2 trumpets, timpani, 2
violins, viola, basso
continuo. This edition:
Paperbound. Stuttgart
Urtext Edition. German
title: Nun danket alle
Gott. Cantatas, Praise
and thanks. Full score.
Language: German/English.
TVWV 1:1166. 32 pages.
Duration 15 minutes.
Published by Carus Verlag
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. German title:
Requiem. Fassung 1889 Fur
Kleines Orchest. Sacred
vocal music, Requiem. Set
of Orchestra Parts.
Composed 1901. Duration
35 minutes. Carus Verlag
#CV 27.311/19. Published
by Carus Verlag
(CA.2731119).
ISBN
9790007133894. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
parts available
separately - see item
CA.2731100.
Composed
by Gabriel Faure. Edited
by Marc Rigaudiere.
French Sacred Music. With
attachement. Sacred vocal
music, Requiem. Vocal
score. Composed 1901. 40
pages. Duration 35
minutes. Carus Verlag #CV
27.311/02. Published by
Carus Verlag
(CA.2731102).
ISBN
9790007246778. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score
available separately -
see item CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Choral Score.
Composed 1901. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
27.311/05. Published by
Carus Verlag
(CA.2731105).
ISBN
9790007132255. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score
available separately -
see item CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Viola 2. Composed 1901.
16 pages. Duration 35
minutes. Carus Verlag #CV
27.311/13. Published by
Carus Verlag
(CA.2731113).
ISBN
9790007201555. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed by Gabriel
Faure. Edited by Marc
Rigaudiere. French Sacred
Music. Requiem. Fassung
1889 Fur Kleines Orchest.
Sacred vocal music,
Requiem. Single Part,
Organ. Composed 1901. 20
pages. Duration 35
minutes. Carus Verlag #CV
27.311/49. Published by
Carus Verlag
(CA.2731149).
ISBN
9790007201593. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score and
part available separately
- see item
CA.2731100.
Composed
by Gabriel Faure. Edited
by Marc Rigaudiere.
French Sacred Music. With
attachement, XL in large
print. Sacred vocal
music, Requiem. Vocal
score. Composed 1901. 40
pages. Duration 35
minutes. Carus Verlag #CV
27.311/04. Published by
Carus Verlag
(CA.2731104).
ISBN
9790007244606. Language:
Latin.
The Requiem
of Gabriel Faure is now
available in two
versions: in the
symphonic version which
was completed in 1900 and
in a version with small
orchestra of 1889. The
symphonic version of
Gabriel Faure's Requiem,
published in 1901, was
the product of a 13-year
compositional process.
Starting from the
original five-movement
form for strings, harp
and organ, the composer
wrote two additional
movements, one after the
other, and expanded the
instrumentation in
various stages for later
performances. The present
reconstruction of a
version with small
orchestra differs from
other such attempts in
that for the first time
it presents the work not
in a mixed version, but
rather in the unified
form from 1889. This is
distinguished from the
final version both in
musical terms, as well as
through the fact that it
forgoes the use of
flutes, clarinets and
bassoons, while employing
only two horns instead of
four. With a critical
Report with information
about the source
situation and the
edition, and containing
the individual readings
(alternative readings,
etc.). Since in 1889 the
Offertoire was still
without the choral
section the present
edition contains the
Offertoire of the final
version as appendix. Now
available in carus music,
the choir app. Score
available separately -
see item CA.2731100.
Composed by Various. Arranged by Various. Harold Flammer WorshipSongs Jr. ...(+)
Composed by Various.
Arranged
by Various. Harold
Flammer
WorshipSongs Jr.
Family/Group,
Mother's Day,
Sacred, Father's
Day, Advent,
Thanksgiving, Christmas,
General Worship,
Children's
Choir, Palm Sunday,
Easter,
Children. Octavo. With
guitar
tablature. Published by
Harold Flammer
Composed by Various. Arranged by Various. Harold Flammer WorshipSongs Jr. Mother...(+)
Composed by Various.
Arranged by Various.
Harold Flammer
WorshipSongs Jr. Mother's
Day, Sacred, Father's
Day, Advent,
Thanksgiving, Christmas,
General Worship,
Children's Choir, Lent,
Easter, Children.
Octavo. Published by
Harold Flammer Music
(HL.35032194).
Hymn Arrangements for Every Occasion. Arranged by Gail Smith. For Piano. Hymnal....(+)
Hymn Arrangements for
Every Occasion. Arranged
by Gail Smith. For Piano.
Hymnal. Sacred. Level:
Intermediate-Advanced.
Book. Size 8.75x11.75.
208 pages. Published by
Mel Bay Publications,
Inc.
Unison/2-part choir, piano SKU: LO.30-2867L 12 Fun Songs about Charact...(+)
Unison/2-part choir,
piano
SKU:
LO.30-2867L
12 Fun
Songs about Characters
with Character.
Composed by Ruth Elaine
Schram. Choral
collection. Created for
Praise Series. Sacred,
Choral. Choral score and
book. Lorenz Publishing
Company #30/2867L.
Published by Lorenz
Publishing Company
(LO.30-2867L).
ISBN
9781429129671.
From
Abednego to the Wise Men,
the Bible's many
appealing--and
instructive--characters
are the centerpiece of
this collection of
delightful songs by
Ruthie Schram. All of the
songs, a mix of familiar
favorites and originals,
are very easy to sing.
Accompanying body motions
are suggested too, adding
another layer to the fun.
Great for Sunday school,
Christian school,
children's worship,
children's choir,
vacation Bible school,
and church camp, this
collection also features
reproducible
lyric/activity pages. The
CD includes accompaniment
tracks that facilitate
rehearsal or performance
in a choral setting along
with performance
recordings that are
perfect for modeling and
create an irresistible
invitation for children
to join along in
song.
SKU: MN.90-51 Composed by Carl Schalk. This edition: paperback. Book. Mor...(+)
SKU: MN.90-51
Composed by Carl Schalk.
This edition: paperback.
Book. MorningStar Music
Publishers #90-51.
Published by MorningStar
Music Publishers
(MN.90-51).
UPC:
688670090516. 8 1/2 x 11
inches.
A
delightful second volume
of brief essays by
revered professor of
church music, Carl
Schalk. Carl’s
wit, charm, and wisdom
shine through each of
these essays. Some may
make you uncomfortable
while others will make
you laugh. As with the
original book, First
Person Singular, these
essays are refreshing and
remarkable insights into
our work as church
musicians. Ultimately,
all will make you think.
Paperback. 60 pages.
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir
SKU:
CF.CM9580
Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol.
The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol.
Chorus, Organ Accompaniment (SATB choir, Organ) SKU: HL.14048145 For S...(+)
Chorus, Organ
Accompaniment (SATB
choir, Organ)
SKU:
HL.14048145
For
SATB Choir and Organ.
Composed by Nico Muhly.
Choral. Classical.
Octavo. Composed 2016. 20
pages. Chester Music
#SRO100140. Published by
Chester Music
(HL.14048145).
UPC:
888680662004. 6.75x10.5
inches.
“The
Beatitudes” is a
work by Nico Muhly, taken
from the four-movement
work Our Present
Charter, commissioned
by the Choir of the
Temple Church,
Mother-Church of the
Common Law, to celebrate
the 800th Anniversary of
the Sealing of Magna
Carta on 15th June 1215.
This vocal score is for
SATB choir and organ
accompaniment, and lasts
around 4 minutes.