(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (unaccompanied). Format: a capella songbook. With choral notation, lyrics, performance notes, introductory text and index of first lines. Christmas and holiday. 224 pages. 9x12 inches. Published by Baerenreiter-Ausgaben.

By Keith and Kristyn Getty. By Jordan Kauflin, Matthew Merker, Keith Getty, Stuart Townend, and Kristyn Getty. Arranged by David Angerman. Shawnee Sacred. General Worship, Lent, Sacred. Octavo. 12 pages. Published by Shawnee Press

Composed by Lerner & Loewe. Vocal score for SATB chorus, 5 solo voices and piano accompaniment. Includes all incidental music and cues. With vocal score, lyrics and piano reduction. 256 pages. Published by Hal Leonard.

By Sarah Moore. For SATB choir and piano (with optional Rhythm). Sacred Anthem. Choral octavo. Published by Lorenz Publishing Company

By Marvin Hamlisch, Edward Kleban. Arranged by Anita Kerr. (SATB). Choral. Size 6.7x10.5 inches. 12 pages. Published by Hal Leonard.

Composed by Eric Whitacre (1970-). Eric Whitacre Choral. Concert. Octavo. Duration 300 seconds. Published by Hal Leonard

Composed by Elise Letourneau. For SATB choir with piano. Sacred. Octavo. Published by Cypress Choral Music

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115611

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas, Epiphany. Single Part, Violin 1. Composed 1729. BWV 156. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.156/11. Published by Carus Verlag (CA.3115611).

ISBN 9790007208776. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115614

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Basso continuo. Sacred vocal music, Cantatas, Epiphany. Single Part, basso continuo. Composed 1729. BWV 156. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.156/14. Published by Carus Verlag (CA.3115614).

ISBN 9790007208806. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115621

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Oboe. Sacred vocal music, Cantatas, Epiphany. Single Part, Oboe. Composed 1729. BWV 156. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.156/21. Published by Carus Verlag (CA.3115621).

Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115612

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Epiphany. Single Part, Violin 2. Composed 1729. BWV 156. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.156/12. Published by Carus Verlag (CA.3115612).

ISBN 9790007208783. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115613

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Epiphany. Single Part, Viola. Composed 1729. BWV 156. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.156/13. Published by Carus Verlag (CA.3115613).

ISBN 9790007208790. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

SATB choir, assembly, piano and organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in f, trombone 1, trombone 2, percussion, timpani, guitar, organ - Early intermediate

SKU: GI.G-9572

Composed by Sally Ann Morris. Pentecost, OT 26 B. Choral. Tune Name: Kairos. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9572. Published by GIA Publications (GI.G-9572).

UPC: 785147957201. English. Text by Mary Louise Bringle.

Bringleâ� ��™s hymn was the winner of the Hymn Society’s search for new texts for the third millennium in 2000. It calls us to new strength in the work of the gospel. Morris’ composition brings the energy and life of an animated melody. Horn in F may substitute for the trombone I. Did we mention, the percussion part is for castanets?! The horn in F part is a substitute for trombone I. The percussion part is for castanets.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106969

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Trinity. Set of Orchestra Parts. BWV BWV 69a. Duration 25 minutes. Carus Verlag #CV 31.069/69. Published by Carus Verlag (CA.3106969).

ISBN 9790007206734. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score and parts available separately - see item CA.3106900.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106999

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Organ. Sacred vocal music, Cantatas, Trinity. Single Part, Organ. BWV BWV 69a. 16 pages. Duration 25 minutes. Carus Verlag #CV 31.069/99. Published by Carus Verlag (CA.3106999).

ISBN 9790007206741. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score and part available separately - see item CA.3106900.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106959

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. 1x 31.069/71 recorder, 1x 31.069/72 oboe 1, 1x 31.069/73 oboe 2, 1x 31.069/74 oboe 3, 1x 31.069/75 bassoon, 4x 31.069/81 3 trumpets and timpani. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas, Trinity. Set of Orchestra Parts. BWV BWV 69a. Duration 25 minutes. Carus Verlag #CV 31.069/59. Published by Carus Verlag (CA.3106959).

ISBN 9790007206680. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score and parts available separately - see item CA.3106900.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106953

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Trinity. Vocal score. BWV BWV 69a. 36 pages. Duration 25 minutes. Carus Verlag #CV 31.069/53. Published by Carus Verlag (CA.3106953).

ISBN 9790007186371. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score available separately - see item CA.3106900.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106955

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Trinity. Choral Score. BWV BWV 69a. 12 pages. Duration 25 minutes. Carus Verlag #CV 31.069/55. Published by Carus Verlag (CA.3106955).

ISBN 9790007186388. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score available separately - see item CA.3106900.

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106950

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Trinity. Full score. BWV BWV 69a. 60 pages. Duration 25 minutes. Carus Verlag #CV 31.069/50. Published by Carus Verlag (CA.3106950).

ISBN 9790007181529. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score available separately - see item CA.3106900.

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

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.

Solo voices, choir, orchestra (2 Soprano Voice Solo, Mezzo Voice Solo, Alto Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir, 2 Ob, 2 Hn, Str, Continuo)

SKU: BA.BA04045

Opera in three acts. Composed by George Frideric Handel. Edited by Bernd Baselt. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Serie II-Supplement/1. Oper, Barock (Opera, Baroque). Complete edition, Score. HWV A. Duration 2 hours. Baerenreiter Verlag #BA04045_00. Published by Baerenreiter Verlag (BA.BA04045).

ISBN 9790006443536. 33 x 26.1 cm inches. Text Language: Italian. Anonymus.

In 1734 Handel provided the pasticcio “ Oreste ” for his third operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the work from favourite movements from his own and other composer's pieces as was usual at that time; rather in “ Oreste ” he presented a selection of the most beautiful arias and ensembles exclusively from his own operas. In addition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre.
As most of the singers in his Italian company had been enticed away by the competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect.

The new vocal score is based on Volume 1 of the Supplement to Series II of the “Halle Handel” Edition edited by Bernd Baselt .

About Barenreiter Urtext

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By 5 Seconds of Summer. By Ashton Irwin, John Feldman, Calum Hood, and Nicholas Ras Furlong. Arranged by Alan Billingsley. Choir Secular. SATB choir. Choral Octavo. Pop Choral. Pop; Secular. 12 pages. Published by Alfred Music

By Joseph M. Martin. For SATB choir (SATB). Choral. Shawnee Press. Contest, concert, festival, memorials. 16 pages