For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

(with When I Survey the Wondrous Cross). Arranged by Lloyd Larson. (SATB). Daybreak Easter Choral. Sacred. 12 pages. Published by Daybreak Music.

SATB/opt. Acoustic Guitar/Cello Acoustic Guitar; Cello; Choral (SATB/GUITAR/CELLO)

SKU: HL.365864

Composed by Heather Sorenson. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Duration 280 seconds. Published by Shawnee Press (HL.365864).

UPC: 840126962369. 6.75x10.5x0.055 inches. Colossians 1:27, I Timothy 6:19, James 2:5, Romans 11:33-36.

This song written during the maelstrom of a global pandemic is an important testament to the human spirit's resiliance and God's promises. Written in a confident ballad style, the story of God's faithfulness unfolds with clarity and honesty. An inspiring melody carries the fragile message, gaining confidence with each repetition. A treasured truth for troubled times, this song will bless your people.

Arranged by Mark A. Brymer. (Satb Singer). Choral. Size 6.7x10.5 inches. 56 pages. Published by Hal Leonard.

Arranged by Mark A. Brymer. (SATB score). Choral. Size 9x12 inches. 96 pages. Published by Hal Leonard.

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

By Niko Schlenker. Edited by Stephan Zebe. Arranged by Niko Schlenker. For SATB choir. Contemporary Gospel Music by Niko Schlenker. Gospel Music, Sacred music, Vocal music, CCM, Spiritual. Intermediate. Full score. 36 pages. Published by Zebe Publishing

((1932) SATB and Piano, Complete Edition). By Benjamin Britten (1913-1976). For Choral (SATB). BH Secular Choral. 24 pages. Boosey and Hawkes #M051481941. Published by Boosey and Hawkes

Double SATB choir (Mixed choirs (SATB) (2)) - Level 4

SKU: BA.BA08525

Composed by Marten Jansson. Stapled. Choral score. 31 pages. Baerenreiter Verlag #BA08525_00. Published by Baerenreiter Verlag (BA.BA08525).

ISBN 9790006566037. 27 x 19 cm inches. Text Language: English. Text: Silvestri, Charles Anthony.

â??Tonigh t I Dance Aloneâ? for double choir a cappella consists of three poignant episodes from the life of an old man. We encounter him before his wedding, before celebrating his wedding anniversary and now as an elderly widower who says to his grandson:

â??Soon we will dance in the God-light,
My love and I.
Soon will the moon be ours again,
And the endless shining stars
In the halls of heaven.
Soon, my love, very soon;
But tonight, one last time,
Tonight I dance alone.�

The libretto and the descriptive music are deeply moving and constitute an ideal partnership. This is MÃ¥rten Jansson's first collaboration with the well-known librettist Charles Anthony Silvestri. The piece provides a well-worth challenge for ambitious choirs.

It was world-premiered by the Saint Louis Chamber Chorus under the baton of Philip Barnes on 1 October 2017 in Saint Louis, MO (USA)

The performance can be viewed on YouTube

SATB choir

SKU: LP.OR-2106

Composed by Cantwell. Arranged by Joseph Linn. Anthems. Southern Gospel and Sacred. Score and parts. Published by Lillenas Publishing Company (LP.OR-2106).

UPC: 765762109001.

We don't talk or sing about heaven enough. How comforting to know that our residence on this planet is only temporary and that Our Lord has gone before us to prepare our mansion..

Composed by David Gleba. Text: Missale Romanum. A setting of the actual Communion Antiphon for Midnight Mass. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5007).

SATB choir (divisi), piano

SKU: LO.15-3863H

Composed by Bryan Sharpe. Choral. Concert, General. Octavo. Heritage Music Press #15/3863H. Published by Heritage Music Press (LO.15-3863H).

ISBN 9780787774585.

This SATB divisi concert piece was inspired by those who leave us too soon and reminds us that they live on in our memories. The piece opens with a piano motif establishing the melodic material on which will be developed. Upon the entrance of the voices, a unison melody soon cascades into falling SSA harmonies and echoes. The piece picks up tempo with a rhythmic drive and a TB feature that expands into full choir before going into a developing section that introduces the Latin phrase “Stellae in Aeternum” meaning “Forever with the stars.” A broad musical climax features numerous overlapping independent melodies previously featured before a dramatic final key change and a slow, soft ending.

Choral SATB choir, piano

SKU: PR.342402070

Composed by Steven Stucky. -. Ars Nova Chamber Singers, Boulder CO. Performance Score. With Standard notation. Composed 7-Feb. 8 pages. Duration 3 minutes. Theodore Presser Company #342-40207. Published by Theodore Presser Company (PR.342402070).

ISBN 9781491111253. UPC: 680160643226. Octavo inches. Text: Archibald R. Ammons. Archibald Ammons. Text by A.R. Ammons.

To benefit Chorus America, Stucky allowed himself to be auctioned off as a prize - the high bidder would receive a new work from the composer. After a few years and not really hearing anything, Stucky suddenly found himself up against a deadline. He reached back to a favorite poem by A.R. Ammons, Eyesight, which, he says, Won't let...his reader rest till the very last word...one of those sudden insights that leave us breathless..
This piece has an odd history. A few years ago, I agreed to be one of the“prizes” in an auction to benefit Chorus America: the highest bidder wouldget a new piece from me, while their money went to the organization. Thewinning bid came from a collection of several professional choruses anddirectors. But I was always a little vague about the details, and, hearingnothing more about it for a few years, forgot the whole thing.One day I received a message from Thomas Edward Morgan, directorof the Ars Nova Chamber Singers in Boulder: they had scheduled thepremiere of my new piece for a few weeks later, and could they have themusic, please? I needed a text, quickly, and (as usual) I was in a Los Angeleshotel room, not at home with my books. So I turned to the internet andsoon tracked down my favorite poet, A.R. Ammons (1926-2001).Once I stumbled on “Eyesight,” I remembered having loved the poemyears before. Archie must have loved it, too, because he included it bothin his Collected Poems 1951-1971 and in the later Selected Poems. It haseverything you want in an Archie Ammons poem: what Edward Hirschcalled his “offbeat, sideways, unpredictable radiance,” his “homespunglory.â� � It has one of his trademark conversations with a mountain (perhapsfrom his native North Carolina), it has the fluid motion from one line tothe next (enjambment, if you want to get technical) that won’t let him orhis reader rest till the very last word of the very last line, and it has in thatlast line one of those sudden insights that leave us breathless: “some thingsthat go are gone.”I miss Archie, but he’s not gone. I’m grateful for the wonderful poems heleft us, and I’m grateful that he was always generous and kind when I hadthe chutzpah to add my music to his.

Children's choir, SATB choir, piano accompaniment - Early Intermediate

SKU: MN.56-0033

Composed by Howard Goodall. Martin Luther King Day, 21st Century. Octavo. MorningStar Music Publishers #56-0033. Published by MorningStar Music Publishers (MN.56-0033).

UPC: 688670220388. English.

First performed at the inaugural National Holocaust Memorial concert and broadcast. The text is from Graffiti found on a cell wall in Cologne, where Jews had been hiding before deportation to a concentration camp, 1941.

Arranged by Kirby Shaw. Original words and music by Kirby Shaw. For Choir. (SATB). Choral Octavo. Pop Choral Series. Broadway. Level: Moderately Difficult (grade IV). Choral Octavo. 36 pages. Published by Alfred Publishing.

Choir Sacred (SATB choir)

SKU: AP.48341

Composed by Andrew Bruhn. Choral Octavo. Lawson-Gould. Christmas; Sacred. Choral Octavo. 8 pages. Alfred Music #00-48341. Published by Alfred Music (AP.48341).

UPC: 038081551647. English. Words by Ben Jonson.

Sixteenth-c entury playwright and poet Ben Jonson wrote the text to this nativity hymn. This original a cappella setting begins with an expressive solo, then gives both the women's and men's voices a standalone feature verse before combining the choir in resonant contemporary harmony. Artistic repertoire for Christmas.

Solo voices, choir, orchestra (SATB voice Solos, SATB Choir, 4Fl(Flote 3 muta in Piccolo-Flote), 2 Ob, EnglHn, 3clar, clar-B, 3bsn, bsn-Co, 4Hn, 4Trp, 3tbn, Tb, timp, Tri, Tr-Kl, Be, Be-Hang, Tam, Glsp, Gl, Cel, 2 harp, Org, 2 Violin, Viola, Cello, Double Bass)

SKU: BA.BA06862

Final version. Composed by Leos Janacek. Edited by Jirí Zahrádka and Leoš Faltus. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek. Series B, Volume 5-I. Complete edition, Score. Duration 40 minutes. Baerenreiter Verlag #BA06862_00. Published by Baerenreiter Verlag (BA.BA06862).

ISBN 9790260105300. 34.2 x 27.3 cm inches. Text Language: Church Slavic.

The Glagolitic Mass, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge.

The recently published scholarly-critical edition presents two different versions of the work in two separate volumes: the “September 1927” version (BA 6863) which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928 (BA 6862). This second version was then revised further and published after Janácek’s death by Universal Edition Wien in 1930. Known as the “final authorised version”, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janácek’s regular copyist Václav Sedlácek.

The “final authorised version” is the significant version and most suited to performance purposes. The instrumentation is richer, it is more straightforward to rehearse and several important passages are more coherent than in the earlier version. It is the later version that is presented in the vocal score. The Old Church Slavonic text has been prepared by the slavicist Radoslav Vecerka.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SATB choir, organ, trumpet

SKU: AU.9781451451610

Composed by Walter L. Pelz. Easter. Octavo. Published by Augsburg Fortress (AU.9781451451610).

This festive setting, based on Psalms 145 and 147, gives exultant praise to God. The often duple feel of the compound meter gives the piece a varied rhythmic impression, which adds to its jaunty air. A central tranquil section reflects the wonderful characteristic of God, before ending in triumphant fashion.

Composed by Shayla L. Blake. Epiphany House. Sacred. Octavo. 8 pages. Epiphany House Publishing #EH1057. Published by Epiphany House Publishing

Composed by Patti Drennan. Sacred Anthem, Eastertide, General, Lent. Octavo. Lorenz Publishing Company #10/4835L. Published by Lorenz Publishing Company (LO.10-4835L).

(A Worker's Prayer). Composed by Stuart Townend. Arranged by Keith Getty. For SATB choir, piano (with optional string quartet (cello)). Sacred Anthem, General, Missions, Stewardship. Octavo. Published by Lorenz Publishing Company

By Pepper Choplin. For SATB choir and piano. Sacred: All Saint's Day, Christ the King, General, Thanksgiving. Octavo. Published by Lorenz Publishing Company

SATB choir and piano

SKU: BC.306156

Composed by Bach; Kinsman. Choral Music. Sacred. Octavo. Published by Bourne Music (BC.306156).

By David Waggoner. Choir Secular. SATB choir. Choral Octavo. Choral Designs. 8 pages. Published by Alfred Music Publishing

Composed by Stuart Forster. Catholic Year A The Nativity of Our Lord. Christmas. Choral score. Published by MorningStar Music Publishers (MN.60-1008).