Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. Choral score.
Lorenz Publishing Company
#65/2085L. Published by
Lorenz Publishing Company
(LO.65-2085L).
Chorale 3 parties 3 parties Mixtes [Vocal Score] - Intermédiaire Hal Leonard
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (on...(+)
(Songbook). By The King's
Singers. Arranged by The
King's Singers. For choir
(one, two, or three-part
voices) (Songbook).
King's Singer's Choral.
Pop Vocal, Traditional
Folk, Baroque and
Classical Period.
Difficulty: easy-medium.
Vocal score (one, two and
three part rounds). Vocal
melody, harmony part and
leadsheet notation. 80
pages. Published by Hal
Leonard
Choral (SSA Choir) SKU: HL.48023291 CME In High Voice. Composed by...(+)
Choral (SSA Choir)
SKU: HL.48023291
CME In High Voice.
Composed by Kris Boerger.
In High Voice. Concert,
Contemporary, Festival.
Octavo. 12 pages. Boosey
and Hawkes #M051479955.
Published by Boosey and
Hawkes (HL.48023291).
This is
the last in the trilogy
of settings of verses
from a collection that
Sarah White calls her
Widow Poems,
written after the sudden
death of a lover. Each of
the three represents a
different stage in the
arc of the poet's grief.
In this one, written on
the first anniversary of
the beloved's death, a
trace of whimsy has
entered White's language
and the music masterfully
captures this same
emotion.
SAB choir and piano SKU: LO.65-2125L Composed by Pepper Choplin. Arranged...(+)
SAB choir and piano
SKU: LO.65-2125L
Composed by Pepper
Choplin. Arranged by
Michael Lawrence. Choral,
cantatas. Christmas.
Choral score. Lorenz
Publishing Company
#65/2125L. Published by
Lorenz Publishing Company
(LO.65-2125L).
ISBN
9780787789961.
Ball
ads have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so itâ??s
especially fitting that
heâ??s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to â??Shout with the
Shepherds!â? This
season, let the folk-like
energy of Pepper
Choplinâ??s unique voice
bring The Ballad of
Bethlehem to you and your
listeners. â??O sing a
ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â?.
(A bold meditation on conflict, communication and compromise). Composed by Eliza...(+)
(A bold meditation on
conflict, communication
and compromise). Composed
by Elizabeth Alexander.
For SSA, SAB (youth
choir), piano. Anthems,
Sacred, Secular, Jazz /
Blues / Rock. Medium.
Choral Score. Duration 4
minutes. Published by
Seafarer Press
All Is Well Chorale 3 parties SAB [Octavo] Hope Publishing Company
Composed by Michael W. Smith / Wayne Kirkpatrick. Arranged by Lloyd Larson. For ...(+)
Composed by Michael W.
Smith / Wayne
Kirkpatrick. Arranged by
Lloyd Larson. For SAB
choir. Christmas,
Assurance. Octavo.
Published by Hope
Publishing Company
All Is Well Chorale 3 parties SSA [Octavo] Hope Publishing Company
Composed by Michael W. Smith / Wayne Kirkpatrick. Arranged by Lloyd Larson. For ...(+)
Composed by Michael W.
Smith / Wayne
Kirkpatrick. Arranged by
Lloyd Larson. For SSA
choir. Christmas,
Assurance. Octavo.
Published by Hope
Publishing Company
All Shall Be Well Chorale 3 parties SAB, Piano - Facile Augsburg Fortress
Composed by Russell Schulz- Widmar. Augsburg Choral Library. Christian, Sacred....(+)
Composed by Russell
Schulz-
Widmar. Augsburg Choral
Library. Christian,
Sacred.
Octavo. Augsburg Fortress
#9781506479705. Published
by
Augsburg Fortress
The Pearl (Choral Score) Chorale 3 parties SSA, Piano - Intermédiaire MorningStar Music Publishers
SSA choir and piano or chamber orchestra - Intermediate SKU: MN.56-0040 C...(+)
SSA choir and piano or
chamber orchestra -
Intermediate
SKU:
MN.56-0040
Composed
by Howard Goodall. 21st
Century, Devotion. Choral
score. MorningStar Music
Publishers #56-0040.
Published by MorningStar
Music Publishers
(MN.56-0040).
UPC:
688670220456.
English.
This
George Herbert text is
set for SSA voices and
piano. The text is a
veiled description of
Herbert’s
relationship to God as
paramount and beyond
price. The pearl is a
symbol for something
sought but not easily
found. The poet describes
key pursuits in life
(learning, honor,
pleasure) and concludes
“Yet I love
thee.†Again and
again the comparison is
made between earthly and
heavenly things, and the
author concludes that the
ultimate goal is
“to climbe to
thee.†There are
various solo and small
group opportunities
marked in the music as
well as “tutti
choirs†and
“massed
voices.†Yet the
music is not complex and
is suitable for a variety
of situations and
ensembles.
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. Choral score.
Lorenz
Publishing Company
#55/1205L.
Published by Lorenz
Publishing Company
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.
Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, cantatas. Christmas....(+)
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral,
cantatas. Christmas.
Choral
score. Lorenz Publishing
Company #65/2112L.
Published
by Lorenz Publishing
Company
(For SAB Voices with Keyboard). By Anonymous. Arranged by Crawford R. Thoburn. M...(+)
(For SAB Voices with
Keyboard). By Anonymous.
Arranged by Crawford R.
Thoburn. Mixed chorus.
For SAB, Keyboard. Music
of Crawford Thoburn.
Choral. Piano/Vocal
Score. Standard notation.
8 pages
By Stephanie Boosahda. By David J. Stearman III and Stephanie Boosahda. Arrang...(+)
By Stephanie Boosahda. By
David J. Stearman III and
Stephanie Boosahda.
Arranged
by John Leavitt. Daybreak
Choral Series. Christmas,
Communion, General
Worship,
Sacred. Octavo. 12 pages.
Published by Daybreak
Music
By Stephanie Boosahda. By David J. Stearman III and Stephanie Boosahda. Arrang...(+)
By Stephanie Boosahda. By
David J. Stearman III and
Stephanie Boosahda.
Arranged
by John Leavitt. Daybreak
Choral Series. Christmas,
Communion, General
Worship,
Sacred. Octavo. 12 pages.
Published by Daybreak
Music
Encounter Chorale 3 parties SAB - Intermédiaire GIA Publications
SAB choir, voice solo, assembly, keyboard accompaniment, C instrument, B-flat in...(+)
SAB choir, voice solo,
assembly, keyboard
accompaniment, C
instrument, B-flat
instrument, violin 1,
violin 2, cello, guitar -
Late intermediate
SKU:
GI.G-9616
From the
Heart of Pope
Francis. Composed by
Jeanne Cotter and Tony
Alonso S.J. Arranged by
Chris De Silva. Sacred.
Octavo. With guitar chord
names. 216 pages. GIA
Publications #9616.
Published by GIA
Publications (GI.G-9616).
UPC: 785147961628.
English. Text Source: 'A
Weary Couple' by Adam M.
L. Tice. Text by Adam M.
L. Tice.
By his
words and actions, Pope
Francis compels the
global Church to a
radically renewed
personal encounter with
Jesus Christ. Encounter:
From the Heart of Pope
Francis is a performance
piece that animates this
call in song, story, and
prayer, inviting all
Christians to risk
stepping toward Jesus in
both the blessing and the
bruising of daily life.
Encounter takes us to the
front lines of
God’s field
hospital, calling us to a
revolution of tenderness
in a world desperate for
healing, wholeness and
hope. This full score
contains all of the music
for the Encounter
performance piece for use
in connection with the
script (G-9616S), which
includes all spoken text
and staging directions.
However, the music in
this edition is also
useful for liturgical
celebrations and other
occasions throughout the
year.
The Turtle Dove Chorale 3 parties SSA, Piano Alfred Publishing
Arranged by Victor C Johnson. Performance Music Ensemble; Single Titles. Alfre...(+)
Arranged by Victor C
Johnson.
Performance Music
Ensemble;
Single Titles. Alfred
Choral
Designs. Folk; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-48468.
Published by Alfred Music
Choral SSA Choir and Piano SKU: CF.CM9704 Composed by Richard Hageman. Ar...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9704
Composed by
Richard Hageman. Arranged
by Stephen Rotz. Jbc. 12
pages. Duration 2
minutes, 49 seconds. Carl
Fischer Music #CM9704.
Published by Carl Fischer
Music (CF.CM9704).
ISBN 9781491160114.
UPC: 680160918713. Key:
F# minor. English. Sir
Rabindranath
Tagore.
Richard
Hageman (1881-1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of time that
he composed Do Not Go, My
Love for solo voice,
originally dedicating it
to the operatic tenor,
George Hamlin. Hageman's
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal classic to
younger singers who might
not yet possess the
dexterity to perform the
original solo.
Rabindranath Tagore
(1861-1941) was an Indian
polymath; someone who
possesses deep knowledge
and understanding of many
disparate subjects.
Tagore's expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name. Do Not Go, My Love
is taken from The
Gardener, a collection of
poems translated from
Bengali by Tagore and
published in 1915. Number
34 in the collection, and
taken by itself, the poem
might be interpreted as
someone watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The Gardener
suggests a romantic
relationship being clung
to by the speaker.
 . Richard Hageman
(1881–1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of timeÂ
that he composed Do Not
Go, My Love for solo
voice, originally
dedicating it to the
operatic tenor, George
Hamlin. Hageman’s
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal
“classic†to
younger singers who might
not yet possess the
dexterity to perform the
original
solo.Rabindranath Tagore
(1861–1941) was an
Indian polymath; someone
who possesses deep
knowledge and
understanding of many
disparate subjects.
Tagore’s expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name.Do Not Go, My
Love is taken
from The Gardener, a
collection of poems
translated from Bengali
by Tagore and published
in 1915. Number 34 in the
collection, and taken by
itself, the poem might be
interpreted as someone
watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The
Gardener suggests a
romantic relationship
being clung to by the
speaker. .
A Child, A King Chorale 3 parties SAB, Piano Lorenz Publishing Company
SAB choir and piano SKU: LO.65-2100L Composed by Marty Parks. Choral, can...(+)
SAB choir and piano
SKU: LO.65-2100L
Composed by Marty Parks.
Choral, cantatas.
Singable Solutions.
Advent, Christmas,
Sacred. Choral score.
Lorenz Publishing Company
#65/2100L. Published by
Lorenz Publishing Company
(LO.65-2100L).
ISBN
9780787767075.
This
celebratory work from
Marty Parks is filled
with festive
interpretations of
classic carols and
worshipful original songs
that highlight the beauty
of the Christmas story.
Arranged with
practicality in mind, it
is sure to make choirs of
all sizes and skill
levels sound their best.
The choral voicings are
rich and full while the
vocal ranges maintain an
accessibility throughout.
The orchestration, also
written by Marty,
beautifully complements
the choral writing. From
the anticipatory,
joy-filled opener, O
Come, Emmanuel!, to the
exciting finale that
combines O Come, All Ye
Faithful and Son of the
Father’s Love,
this incredible selection
is filled with the sounds
and spirit of
Christmas!
The Tree of Life Chorale 3 parties SAB, Piano - Facile GIA Publications
SAB choir, piano accompaniment, oboe - Early intermediate SKU: GI.G-9687 ...(+)
SAB choir, piano
accompaniment, oboe -
Early intermediate
SKU: GI.G-9687
Arranged by James Biery.
Lent, Lent 2 A, Good
Friday. Choral. Tune
Name: Wexford Carol.
Sacred. Octavo. 16 pages.
GIA Publications #9687.
Published by GIA
Publications (GI.G-9687).
UPC: 785147968702.
English. Text by Stephen
Starke. Scripture:
Genesis 2:9, Genesis
3:1–7, 15,
Revelation
22:2.
James Biery
has created a setting of
the WEXFORD CAROL set to
Stephen Starke’s
text based on the Fall in
the garden as recounted
in the Book of Genesis.
The piece has multiple
uses throughout the year,
notably for Good Friday.
For choirs that present a
service of Lessons and
Carols, this piece would
be a welcome addition to
the repertoire that
follows the traditional
first reading. The oboe
part is optional. Â
Listen to the music and
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Choral (SSA Choir) - easy SKU: HL.14025880 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025880
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69553. Published by
Chester Music
(HL.14025880).
ISBN
9781846090509. UPC:
884088441050.
6.75x9.75x0.035 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The Birds
by Richard Allain.