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.).­­.

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.

Composed by Lynn Ahrens, music by Steven Flaherty. Arranged by Mark Hayes. Choir Secular. SATB choir. Choral Octavo. Pop Choral. Broadway; Secular. 12 pages. Published by Alfred Music

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

(Rejoice in the Light of Easter's Day). Composed by Tony Wood. Arranged by Daniel Semsen. For SATB choir. Easter Musical. Difficulty: Moderate. Choral book. Duration 34 minutes. Published by Word Music

Arranged by Jack Schrader. For SATB choir. Sacred, Easter, Lent. Score. Musicals. 60 pages. Published by Hope Publishing Company

By Cecilia Mcdowall. For SATB choir and organ. Mixed Voices. New Horizons. Christmas, Choral Leaflet. Vocal score. 8 pages. Duration 4'. Published by Oxford University Press

SATB choir, organ - Intermediate

SKU: MN.50-0048

Composed by David Schelat. Advent, 21st Century. Octavo. MorningStar Music Publishers #50-0048. Published by MorningStar Music Publishers (MN.50-0048).

UPC: 688670500480.

A beautiful Christmas text that tells the story of the birth of Christ--giving special honor to the Virgin Mary. A particularly effective matching of text and music.

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

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.

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, piano

SKU: LO.65-2124L

Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. Christmas. SATB with performance CD. Lorenz Publishing Company #65/2124L. Published by Lorenz Publishing Company (LO.65-2124L).

ISBN 9780787789954.

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?.

SATB choir, piano

SKU: LO.65-2123L

Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. Christmas. Choral score. Lorenz Publishing Company #65/2123L. Published by Lorenz Publishing Company (LO.65-2123L).

ISBN 9780787789947.

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?.

SATB choir

SKU: HP.C5882C

Composed by John Carter. Arranged by Mary Beall. Piano Accompaniment. Christmas, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5882C. Published by Hope Publishing Company (HP.C5882C).

UPC: 763628958824. Mary Kay Beall. Scripture: Luke 2:1, Luke 2:2, Luke 2:3, Luke 2:4, Luke 2:5, Luke 2:6, Luke 2:7, Luke 2:8, Luke 2:9, Luke 2:10, Luke 2:11, Luke 2:12, Luke 2:13, Luke 2:14, Luke 2:15, Luke 2:16, Luke 2:17, Luke 2:18, Luke 2:19, Luke 2:20.

Original anthem Brimming with energetic choral writing, this new Christmas collaboration from Mary Kay Beall and John Carter retells the story through the angels' hymn of praise, Gloria in excelsis Deo! The final verse calls for all of us to come kneel before him,. . . Brimming with energetic choral writing, this new Christmas collaboration from Mary Kay Beall and John Carter retells the story through the angels' hymn of praise, Gloria in excelsis Deo! The final verse calls for all of us to come kneel before him, let your heart rejoice in celebration of the Christ child.

Choral (SATB)

SKU: HL.2050271

Praise Gathering Choral. Easter. Softcover. 144 pages. PraiseGathering #A08421. Published by PraiseGathering (HL.2050271).

UPC: 797242157493. 6.75x10.5x0.342 inches.

Greatly influenced by the John Fischer book of the same title,On a Hill Too Far Awayis a clarion call to His church to bring the cross back to the center of our faith. Now with all new drama and a full length DVD that brings the Cross front and center in poignant images.It is the story of Calvary. While it may seem that all of this occurred on a hill too far away, too far removed from our life to speak to us, we cannot stand in the distance and expect to experience the magnitude of the cross. We must draw near. We must face what we can never understand. We must confront the ravaged spotless Lamb to gain just a glimpse of our stain of sin. The cross cannot be explained away. The cross cannot be ignored. The cross cannot be stripped of its cruelty and shame. The cross cannot and will not be denied. The invitation stands- come to the place of mercy and grace. It is the way of the cross that leads us home.Let us fix our eyes on Jesus, the author and perfecter of our faith, who for the joy set before Him endured the cross, scorning its shame, and sat down at the right hand of the throne of God. (Hebrews 12:2 NIV).

Choral (SATB)

SKU: HL.2050299

Praise Gathering Choral. General Worship, Missions. Softcover. 136 pages. Duration 2880 seconds. PraiseGathering #A08449. Published by PraiseGathering (HL.2050299).

UPC: 797242248399. 6.75x10.5x0.35 inches.

The call to spread the good news of the Gospel echoes through the centuries directly from the Savior. Jesus had a unique worldview because He was the first born over all creation; everything was created by Him and for Him. He chose the time and place of His appearing on Earth. He became the physical manifestation of God's love. His example and teaching changed the course of history - His sacrifice and Resurrection changed the course of eternity.The earthly ministry of the Master was coming to an end - the ministry of sharing His message was just beginning. However, He promised to be with us - even to the end of the age. This work is a celebration of the call to serve - a challenge to see the responsibility of missions in a new Light - and a charge to surround those that surrender their lives to the task of the Great Commission to go INTO ALL THE WORLD. Because of the saints that have come before - because of the sacrifice of those who continue to support missions around the world - because of those who still answer the call - and because of being blessed and empowered by the Holy Spirit, the name of Jesus is lifted across the globe - AND THE SUN NEVER SETS ON THE PRAISES OF THE LORD!

By Allen Pote. (SATB). Call To Worship, Hymntune, Hymntune and Sacred. Print Music (SATB). 8 pages. Published by Hope Publishing Company.

SATB choir, piano

SKU: LO.10-5247L

Composed by Keith Getty. Arranged by Stuart Townend. Choral. Sacred Anthem, Holy Week, Maundy Thursday. Octavo. Lorenz Publishing Company #10/5247L. Published by Lorenz Publishing Company (LO.10-5247L).

ISBN 9780787764265.

The powerful words and music of this Getty and Townend hymn tell the story of Jesus praying in the garden just before His crucifixion. Larry Shackley’s sensitive setting includes instrumental echoes of the Passion Hymn, making it a solid choice for Holy Week worship.

Choir (SATB choir)

SKU: AP.50124

Traditional Spiritual. Arranged by Chad Weirick. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Sacred; Traditional. Choral Octavo. 12 pages. Alfred Music #00-50124. Published by Alfred Music (AP.50124).

UPC: 038081572949. English. Traditional Spiritual.

A driving and dramatic spiritual meets the riveting day of wrath Latin text in this unique arrangement that's not to be missed. Experience the thrill of mixed and changing meters, soaring and chromatic phrases, ever-increasing rhythmic intensity, and theatrical storytelling in this unexpected pairing---the likes of which you've never heard before. A rewarding challenge for performers, an unforgettable standout for audiences.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Composed by Mack Wilberg (1955-). For SATB choir and organ/orchestra. Vocal score. Duration 20 minutes. Published by Oxford University Press

Voice soloists, SATB chorus, orchestra (4Soprano Voice Solo, 4Tenor Voice Solo, 5Bass Voice Solo, SATB Choir, Ballett, Orch)

SKU: BA.BA08857

Opera with a prologue and 3 acts. Composed by Jean-Philippe Rameau. Edited by Pascal Denécheau. This edition: complete edition, urtext edition. Linen. Jean-Philippe Rameau. Opera Omnia (OOR) IV/18. Complete edition, Score. Duration 12 hours. Baerenreiter Verlag #BA08857_00. Published by Baerenreiter Verlag (BA.BA08857).

ISBN 9790006558209. 33.5 x 25.7 cm inches. Text Language: French. Preface: Sylvie Bouissou. Louis de Cahusac.

The opera “Naïs” was premiered on 22 April 1749 at the Acadmie royale in the Palais-Royal, Paris, in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau’s death and achieved great success as the “opera of peace,” even though it did not appear in print during the composer’s lifetime.

In numerous arias Rameau provides his singers ample opportunity to shine, while he reveals his orchestral mastery, in particular in the chaconne and the various other ballets.

The work appears here for the first time in a vocal score with a keyboard reduction. The reduction is by François Saint-Yves on the basis of the new critical edition by Pascal Dencheau which is part of Opera Omnia Rameau edited by Sylvie Bouissou.

This edition is the result of a meticulous comparison of all known musical sources. In the main section, it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival.

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

By John Ness Beck Foundation. (SATB). Choral. Sacred. Published by Beckenhorst Press.

SATB chorus and piano - Medium

SKU: JK.01258

Composed by David R. Watson. Choral SATB, Difficulty Medium, Piano Choir, Seasonal Music Pioneer Day, Special Events Home and Family, Temple and Family History. Christian, Inspirational. Duration 4:02. Jackman Music Corporation #01258. Published by Jackman Music Corporation (JK.01258).

Doctrine and Covenants 2.

Original family history anthem written for mixed chorus (SATB) and piano, with scriptural text from Doctrine and Covenants 2: I'll turn my heart to you who went before me.... I'll find your name in records filled with miracles and promptings that tell me you are there.

Composer: David R. Watson
Lyricist: Doctrine and Covenants 2 / David R. Watson
Difficulty: Medium
Performance time: 4:02
Reference: Doctrine and Covenants 2.

Composed by Joel Raney. Choral, cantatas. Advent, Christmas, Sacred. SATB with performance CD. Lorenz Publishing Company #65/2107L. Published by Lorenz Publishing Company