By Larry Shackley. For SATB choir and piano. Lent, General, Sacred. Octavo. Published by Laurel Press.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

Mixed choir (SATB) (SATB)

SKU: HL.49044832

For mixed choir (SATB). Composed by Gerald Barry. This edition: Saddle stitching. Sheet music. Choral. Softcover. Composed 1997. 15 pages. Duration 3'. Schott Music #ED13765. Published by Schott Music (HL.49044832).

ISBN 9790220136078. UPC: 841886025868. 8.25x11.75x0.081 inches. English.

Gerald Barry's The coming of winter is a setting of an Irish poem dating from the 9th or 10th century, and was commissioned for the 34th Seminar on Contemporary Choral Music at University College, Cork, in May 1997. The setting is notable for its idiosyncratic use of text: not only are the words of the poem sung both forwards and backwards, but the second half of the piece is given over to percussive nonsense syllables, making this a quirky but highly invigorating image of 'the coming of winter'.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002705

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Choral Score. 8 pages. Duration 8 minutes. Carus Verlag #CV 10.027/05. Published by Carus Verlag (CA.1002705).

ISBN 9790007181338. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002711

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 1. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/11. Published by Carus Verlag (CA.1002711).

ISBN 9790007189327. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002709

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. 1x 10.027/31 trombone 1, 1x 10.027/32 2 trombones, 1x 10.027/33 trombone 3, 1x 10.027/34 trombone 4. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Set of Orchestra Parts. Duration 8 minutes. Carus Verlag #CV 10.027/09. Published by Carus Verlag (CA.1002709).

ISBN 9790007189310. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002719

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Set of Orchestra Parts. Duration 8 minutes. Carus Verlag #CV 10.027/19. Published by Carus Verlag (CA.1002719).

ISBN 9790007181413. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002714

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 4. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/14. Published by Carus Verlag (CA.1002714).

ISBN 9790007189358. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002715

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, basso continuo. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/15. Published by Carus Verlag (CA.1002715).

ISBN 9790007189365. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002706

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Choral Score. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/06. Published by Carus Verlag (CA.1002706).

ISBN 9790007181345. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002712

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 2. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/12. Published by Carus Verlag (CA.1002712).

ISBN 9790007189334. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002749

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Organ. 8 pages. Duration 8 minutes. Carus Verlag #CV 10.027/49. Published by Carus Verlag (CA.1002749).

ISBN 9790007189372. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002713

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 3. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/13. Published by Carus Verlag (CA.1002713).

ISBN 9790007189341. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002700

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Full score. 24 pages. Duration 8 minutes. Carus Verlag #CV 10.027/00. Published by Carus Verlag (CA.1002700).

ISBN 9790007171728. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course.

SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo

SKU: CA.1002849

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Organ. Sacred concertos, Sacred vocal music, Advent. Single Part, Organ. 4 pages. Duration 4 minutes. Carus Verlag #CV 10.028/49. Published by Carus Verlag (CA.1002849).

ISBN 9790007189389. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorael concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking chorale concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. In the chorale setting Wie schon leuchtet der Morgenstern Praetorius wrote for a five-part ensemble which is joined in some sections by a four-part capella. For the ensemble, Praetorius suggested both voices and instruments, which he uses in a sophisticated texture of sound, the instruments sometimes duplicating the voices and sometimes alternating with them. Score and part available separately - see item CA.1002800.

SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo

SKU: CA.1002800

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Sacred concertos, Sacred vocal music, Advent. Full score. 12 pages. Duration 4 minutes. Carus Verlag #CV 10.028/00. Published by Carus Verlag (CA.1002800).

ISBN 9790007171735. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorael concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking chorale concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. In the chorale setting Wie schon leuchtet der Morgenstern Praetorius wrote for a five-part ensemble which is joined in some sections by a four-part capella. For the ensemble, Praetorius suggested both voices and instruments, which he uses in a sophisticated texture of sound, the instruments sometimes duplicating the voices and sometimes alternating with them.

SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo

SKU: CA.1002805

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Sacred concertos, Sacred vocal music, Advent. Choral Score. 8 pages. Duration 4 minutes. Carus Verlag #CV 10.028/05. Published by Carus Verlag (CA.1002805).

ISBN 9790007181352. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorael concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking chorale concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. In the chorale setting Wie schon leuchtet der Morgenstern Praetorius wrote for a five-part ensemble which is joined in some sections by a four-part capella. For the ensemble, Praetorius suggested both voices and instruments, which he uses in a sophisticated texture of sound, the instruments sometimes duplicating the voices and sometimes alternating with them. Score available separately - see item CA.1002800.

SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo

SKU: CA.1002819

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Separate instruments. Sacred concertos, Sacred vocal music, Advent. Set of Orchestra Parts. Duration 4 minutes. Carus Verlag #CV 10.028/19. Published by Carus Verlag (CA.1002819).

ISBN 9790007181420. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorael concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking chorale concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. In the chorale setting Wie schon leuchtet der Morgenstern Praetorius wrote for a five-part ensemble which is joined in some sections by a four-part capella. For the ensemble, Praetorius suggested both voices and instruments, which he uses in a sophisticated texture of sound, the instruments sometimes duplicating the voices and sometimes alternating with them. Score and parts available separately - see item CA.1002800.

Composed by Jacob Narverud. Original. Octavo. Duration 2 minutes, 27 seconds. Carl Fischer #CM9505. Published by Carl Fischer (CF.CM9505).

Composed by Paul John Rudoi. For soprano voice solo, SATB choir unaccompanied. National Collegiate Choral Organization Choral Series. General, Spiritual, 21st Century. Medium. Octavo. Published by E.C. Schirmer Publishing

Composed by Mark Hayes (1953-). Choral. Octavo. Heritage Music Press #15/3762H. Published by Heritage Music Press

Arranged by David Conte. For SATB choir, guitar, 2 violins and double bass (or piano). Secular, Concerts, 21st Century. Piano/choral score for satb version. Text Language: Spanish. Published by E.C. Schirmer Publishing

SATB choir a cappella, keyboard - Beginning

SKU: MN.50-3031

Composed by Donald Busarow. Year C Lent5; Year C Pentecost15; Catholic Year C Ordinary22. Lent, Trust/Guidance. Octavo. MorningStar Music Publishers #50-3031. Published by MorningStar Music Publishers (MN.50-3031).

UPC: 688670530319.

Strai ght-forward chorale style setting combining two Thomas Kingo texts. Stanza 1 (Praise and Thanks and Adoration). Stanza 2 (On My Heart Imprint Your Image) also appears as an alternate SAB setting. Texts offer Lenten or Trust/Guidance focus. Keyboard may double vocal lines.

SATB Chorus & Organ

SKU: SU.91480570

For SATB Chorus & Organ. Composed by Dan Locklair. Vocal/Choral, Sacred Choral. Accompanied by organ. Choral Octavo. Composed 2010. Duration 7'. Subito Music Corporation #91480570. Published by Subito Music Corporation (SU.91480570).

Text: Angier Brock.

SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits.


Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

By Sydney H. Nicholson. Arranged by Paul Leddington Wright. For SATB choir and organ with optional brass, percussion and congregation (2 B-flat trumpets, trombone, horn (opt. trombone), tuba, timpani). Hymn Concertato Series. Conductor's score and brass parts. Published by Hope Publishing Company

By Sydney H. Nicholson. Arranged by Paul Leddington Wright. For SATB choir and organ with optional brass, percussion and congregation. Hymn Concertato Series. Octavo. 12 pages. Published by Hope Publishing Company

Arranged by Gary Fry. Choir Sacred. SATB choir. Choral (Sacred); Choral Octavo; Worship Resources. Gary Fry Choral Series. Christmas; Sacred; Winter. 24 pages. Published by Alfred Music Publishing

SATB choir, divisi - Intermediate

SKU: GI.WW1675

Composed by Ivo Antognini. Cameron LaBarr. Classical. Octavo. 12 pages. Walton Music #WW1675. Published by Walton Music (GI.WW1675).

UPC: 785147008965. Latin. Text Source: Traditional Latin.

Laudate Dominum is a lovely a cappella work for SATB choir, featuring a beautiful melody and gorgeous harmonizations true to the composer's style. Flowing and forward-moving, this uncomplicated work is a delicate and joyful addition to any program. Cameron LaBarr Choral Series.