Le 'Gloria' RV 589 est l'un des compositions les plus populaires de Vivaldi aujourd'hui et l'un des plus régulièrement effectué des oeuvres vocales sacrées de l'époque baroque. Le travail était, selon toute probabilité, composé autour de 1716 pendant le temps de Vivaldi à l'Ospedale della Pietà, un orphelinat pour filles à Venise.Bien que Vivaldi 'Gloria' (BA 8953) a été écrit pour voix solistes et choeur mixte, il est probable qu'il a été effectuée à l'orphelinat des filles avec des voix féminines seulement. Prenant cela en compte, arrangement soigneux Malcolm Bruno pour choeur SSAA revêt une certaine pertinence. Le travail, lorsqu'il est réglé pour les voix féminines ou choeur d'enfants, demeure un véritable chef-d'oeuvre.Le 'Kyrie' RV 587 (BA 8954) pour deux choeurs et deux ensembles à cordes, comme prévu ici pour choeur de femmes, affiche son propre charme. Elle peut être réalisée en collaboration avec le Gloria comme un type de masse court.Les deux régimes sont fondés sur les éditions Urtext récemment publiés de ces oeuvres. Les réductions pour piano de Malcolm éditeur de Bruno sont faciles à jouer et à préserver le caractère des oeuvres.- Des dispositions efficaces pour choeur de femmes- Avant-propos en anglais et en allemand- Simple, les réductions pour piano idiomatiques- Kyrie et le Gloria peuvent être combinés pour des performancesLes parties orchestrales pour la version originale SATB peut être utilisé pour l'exécution de ces dispositions. / Ssaa

This beautiful prayer catches your attention with the first opening phrase. The familiar Latin text set by so many composers finds a fresh expression that does not follow the original chant lines. Yet the harmony and form harken back to a traditional time moving in logical sequences that cadence with satisfaction. Appropriate at church or school.

One of the most relevant scriptures for the walk of faith forms the foundation in this remarkable original. Encouraging harmonies surround the words with warmth and sincerity. Some crafty imitative writing offers variety in the approach and the accompaniment with optional cello obbligato is on point. This call to humble service is essential theology and in this setting these timely truths speak with clarity and conviction. Meaningful!

Voici une partition musicale pour Chant/Vocal/Choeur et plus spécialement pour Choeurs A 4 Voix De Femmes Et plus que vous pouvez acquérir pour moins de 10C. Classée dans la catégorie Classique, cette partition a pour titre LE PETIT PIERROT. C'est l'éditeur Billaudot sous la référence EFM651 qui a les droits pour éditer cette partition. / Choeurs A 4 Voix De Femmes Et plus / Partition

30 Sacred Masterworks presents a wealth of invaluable original repertoire for Upper Voice choirs selected and edited by Judith Blezzard.Part of Faber Music's acclaimed Choral Programme series this practical resource features many new performance editions from Medieval to Modern Renaissance to Romantic.A vibrant and versatile collection that will cater for services concerts and events throughout the year.

O beata Trinitas. for SSAA double choir unaccompanied. In this compelling motet for the Feast of the Holy Trinity, Handl artfully embodies symbolism of the Trinity within the motet's structure.

This work was commissioned by DOM in association with Canty who gave the first performance in York Minster on 23rd October 2008.This brief motet for four voices and renaissance bray harp was written in the South of France inFebruary 2007. It is a setting of two Hadiths or sayings attributed to the Prophet Mohammed. The words convey something of the great mystery of the Absolute and the Beautiful One who is immanent and yet hidden. The music shouldbe performed with great purity in a resonant acoustic. If a renaissance bray harp is not available the harp part may be played on a contemporary instrument. I was a Hidden Treasure; And I longed to be known; So Icreated the world.God is a Beautiful Being And He loves Beauty.

'Defying Gravity' is the signature song from the hit musical Wicked Composed by Stephen Schwartz.Arranged by Deke Sharon for SSAA This piece combines a solo two small duets and a chorus part in the end in which the citizens of Oz sing. This piece is heavily cinematic and gradually comes to a grand climax for the final verse.

Hamba Lulu is a fantastic addition to the choral repertoire in the Choral Programme series. It is a breath of fresh air in the classroom and for any choir wanting a new challenge. These stirring songs are additive so you can tailor performances to local resources increasing technical demand according to the experience of the choir. Easy to learn and sure to make an instant impact on audiences the songs tap into the rich seam of African culture and rhythmn. Set for SSAA upper voices with the option of adding percussion depending on your resources.

Le compositeur espagnol-allemand Raquel Cristobal, déjà fait avec votre pièce gagnante du Concours de Composition de l'Association Chorale NRW 'To the Moon' (C 55497) pour attirer l'attention, nous donne au moment de Noël nouveaux arrangements de chansons populaires de Noël à son domicile espagnol dans diverses professions.Le nouveau genre pour chaque chorale sélection composée de morceaux exquis est un enrichissement du répertoire de Noël international. Pour fournir ce pays est toujours airs inconnus plutôt une alternative parfaite aux nombreux chants déjà souvent entendu et sera sûrement bientôt morceaux préférés pour son prochain concert de Noël! / Choeur De Femmes A Cappella

for SSAA Chorus a cappella-Now available for treble choirs this readily accessible setting sounds at once modern and medieval. Starting in unison and evoking plain chant it gradually unfolds into wider harmonies and more modern harmonic language.

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

A Choral Suite for Two Part (Soprano and Alto) Children's Chorus setting the text of George Mackay Brown. This enchanting 12-minute cycle is typical of the subtle and delicate way Maxwell-Davies approaches writing forchildren: straightforward tender affectionate yet with just a hint of the complexity found in challenging 'adult' works like the cycle Westerlings. George Mackay Brown's poetry with its haiku-like short stanzas and pointillisteallusive imagery leaves you constantly intrigued : who is the boy 'lost on the hill till sundown' and why is time 'a bird with white wings?' Is this perhaps the poet himself playing a bit of holiday truant?

Mendelssohn’s A Midsummer Night’s Dream incidental music to the play by Shakespeare is best known for the famous Wedding March though the work contains an array of beautiful music. The instrumental movements are frequently performed as an Orchestral suite or as stand-alone pieces.The Overture was composed when Mendelssohn was just seventeen years old written as a concert overture. Then when King Frederick William IV of Prussia commissioned the adult Mendelssohn to create incidental music for the whole of the play in 1842 Mendelssohn incorporated the Overture and its themes repeatedly throughout the work. Mendelssohn particularly loved Shakespeare’s Midsummer Night’sDream having read it with his sister from childhood. His incidental music for the play ranks among the best of its genre skillfully generating the spirit of each of the characters establishing ambiences for the various scenes and complementing Shakespeare’s own drama.

Your singers will love rehearsing and performing this rhythmic celebration based on traditional African music. Layered vocal lines call and response and the vitality of the conga claves and djembe will bring freshness and energy to your concert!