My song is love unknown. My song is love unknown is an expressive and fluid setting of the well-known Lenten text by Samuel Crossman. McGlade highlights the phrase 'take frail flesh and die' with a sighing musical motif, before the work closes with the affirmation 'heaven was his home, but mine the tomb where he lay'.

TVWV 4:17-Georg Philippp Telemann's Du Aber Daniel Gehe Hin for SATB and Piano.With the final verse of the Book of Daniel from the Old Testament and a related cantata text Telemann mourns the death of a prominent but until now unknown dignitary in a cantata marked by great intimacy and with exquisite instrumentation. Jakob Ditmar the Kantor of the Nikolaikirche in Berlin to whom we owe the survival of this work contributed two beautiful chorale settings for a performance in 1757. First critical edition of this cantata.

The great American Composer Kirke Mechem has taken this classic folk song of unknown origin and set it for SATB chorus Baritone soloist (playing the part of the poet of this text) and Piano or Organ with optionalString Orchestra. This is a theme and variations arrangement and one that will challenge any fine choir without challenging the ears of the listeners. Score and parts for String Orchestra available on rental from thepublisher.

Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SATB to words by Thomas Campion.This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies exquisitely tempered with modal effects.Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest Viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small comprising about 90 works but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often playedand recorded and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career from her earliest attempts at composition around 1906 to her final flowering in the 1940s revising and recomposing until as late as 1976.

Unknown Italian Cathedral Music of the early 16th Century edited by Knud Jeppesen.

The title comes from the Latin oblivio/oblivium meaning 'to forget ' or better 'the condition of being forgotten unknown.' Astor Piazzolla's (Argentinian) music originally written for instrumental ensemble perfectly depictsthis rather melancholy mood. Using carefully selected nonsense syllables this skilled arranger has given advanced high school college and community choirs the opportunity to include this much-loved music in their performances. Choirs will love performing (and rehearsing!) this one.SATB Unaccompanied.

Psaume 83-Jean-Philippe Rameau's Quam dilecta tabernacula (Psalm 83) for SATB.The three grands motets Quam dilecta In convertendo and Deus noster refugium which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau’s great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770 after Rameau’s death and the works have been rendered in a scoring which does not correspond to his intentions. The present new editionattempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau’s autograph score from 1751.

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale

It was like finding an unknown Rossetti poem when Anna Mullin contacted the Bock Company about an arrangement she had that Fred Bock had completed shortly before his death. There are all the classic Bockisms that made him sofamous wedded to a brand new text and tune. And so timely since the anthem is a Memorial Day hymn.

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

The grand motets of Michael-Richard de Lalande (1657-1726) principal Chapel Music Director for Louis XIV and Louis XV marked the high point of sacred music under the ancien régime. De profundis is the best-known of Lalande's motets and is a justly celebrated work.Edited by distinguished scholar Lionel Sawkins (editor of Charpentier's 'Te Deum' also published by Faber Music) this practical performing edition of 'De profundis Clamavi' brings the work of this still relatively unknown composer to light.

Shimmering with anticipation yet with an air of mystery waiting with expectation for the promise of the unknown “A Star Soon Will Shine” is a beautiful and thought-provoking anthem for Advent. Singable vocals and aflowing accompaniment make this piece easy to learn. The optional flute obbligato adds a feeling of peace and clarity to this moving octavo.

Harold Rosenbaum Choral Series-This final movement of a larger work An Undaunted Heart: Songs of Elders is a setting of a poem by the Bengali poet Rabindranath Tagore and explores the last stage of life for a man and the ocean of peace thatlies before him as he encounters the great unknown. Duration: ca. 5:20.

Featured in the Twentieth Century Fox Television Series Glee-From Glee's 3rd season and the graduation album this song opens with a reflection on feelings of doubt that every young person experiences when facing an unknown future but soon transitions into a powerful and uplifting refrain that expresses hope and confidence.