By Thomas Tallis (1505-1585). Choir Sacred. For with Piano (SATB choir). Book; Choral (Sacred); Choral Worship Collection; Masterworks; Worship Resources. Faber Edition: Choral Programme Series. Masterwork; Renaissance; Sacred. Published by Faber Music

Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. Sws. Octavo. 16 pages. Duration 3 minutes, 4 seconds. Carl Fischer Music #CM9650. Published by Carl Fischer Music

Composed by Tomas Luis de Victoria (1548-1611). Edited by Andrea Angelini. Text: Hail Mary. Renaissance treasure. Marian. Octavo. Published by CanticaNOVA Publications (C5.7019).

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

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

Arranged by Andre Thomas. Octavo for SATB choir and conga drums. Choral. F minor. 8 pages. Published by Hinshaw Music Inc.

SATB choir with divisi, organ, handbells, oboe and brass quartet - Medium

SKU: PL.0529

Composed by Brian William Luckner. Cathedral. Choral, Christmas. Octavo. Paraclete Press #0529. Published by Paraclete Press (PL.0529).

* Introit for Christmas Eve or for a service of Advent Lessons and Carols * familiar Latin antiphon interspersed with English verses * seamlessly interwoven vocal and instrumental lines * glorious ending

Brian Luckner's anthem, Dominus dixit ad me (SSATB, handbells, oboe, brass quartet, organ... is plucked straight out of the Gregorain chant repertory, and manages to do it in a somewhat less diaphanous manner than some other chant-based pieces have done. The Introit for Chirstmas Midnight Mass is here qouted in toto, cast in a fluid but rhythmic framework. Starting rather mysteriously at the outset, oboe and handbells are effectively brought into the fabric of the piece. This work carefully submits to the antiphon/psalm verse/antiphon Introit form and is thus entirely liturgical by intent. At the return of the antiphon, the score becomes much more expansive, and only the outline of the chant is suggested. The oboe wisely doubles the first soprano part, as it ascends to two high B-flats. In my mind's ear, I hear a very capable choir singing this piece, preparatory to the opening hymn/carol. While it captures the very quiet side of the mystery of Verbum caro factus est, it nicely prepares us for the joys of festive clangor that are sure to follow. Cue up Hymn 87, please! - Monte Mason AAM Journal October 18, 2005.

SATB choir with divisi, organ, handbells, oboe and brass quartet - Medium

SKU: PL.0529IP

Composed by Brian William Luckner. Cathedral. Choral, Chant, Christmas. Instrumental Parts. Paraclete Press #0529IP. Published by Paraclete Press (PL.0529IP).

* Introit for Christmas Eve or for a service of Advent Lessons and Carols * familiar Latin antiphon interspersed with English verses * seamlessly interwoven vocal and instrumental lines * glorious ending

Brian Luckner's anthem, Dominus dixit ad me (SSATB, handbells, oboe, brass quartet, organ... is plucked straight out of the Gregorain chant repertory, and manages to do it in a somewhat less diaphanous manner than some other chant-based pieces have done. The Introit for Chirstmas Midnight Mass is here qouted in toto, cast in a fluid but rhythmic framework. Starting rather mysteriously at the outset, oboe and handbells are effectively brought into the fabric of the piece. This work carefully submits to the antiphon/psalm verse/antiphon Introit form and is thus entirely liturgical by intent. At the return of the antiphon, the score becomes much more expansive, and only the outline of the chant is suggested. The oboe wisely doubles the first soprano part, as it ascends to two high B-flats. In my mind's ear, I hear a very capable choir singing this piece, preparatory to the opening hymn/carol. While it captures the very quiet side of the mystery of Verbum caro factus est, it nicely prepares us for the joys of festive clangor that are sure to follow. Cue up Hymn 87, please! - Monte Mason AAM Journal October 18, 2005.

By Keith Getty / Stuart Townend. Edited by Michael Perry. Arranged by Lloyd Larson. For SATB choir. Sacred. Choral octavo. 12 pages. Published by Hope Publishing Company

By Joseph M. Martin. For SATB Choir. Sheet Music. Published by Harold Flammer Music.

By Chris Tomlin and Louie Giglio. Arranged by Joel Raney. For SATB choir with optional Rhythm. Scripture References: Acts 12:5-9 -- Ephesians 1:3-14. Contemporary|Hymntune, Sacred. Choral octavo. 8 pages

Choral SATB Choir

SKU: CF.CM9654

Composed by Mark Burrows. Fold. Performance Score. 12 pages. Duration 4:15. Carl Fischer Music #CM9654. Published by Carl Fischer Music (CF.CM9654).

ISBN 9781491157268. UPC: 680160915828. 6.875 x 10.5 inches. Key: Ab major. English, English. Julian of Norwich (1342-1416).

Burrow s's setting of words of assurance from the English mystic Julian of Norwich (1342-1416) is as relevant today as ever. For the advanced mixed ensemble, the powerful lyrics coupled with gorgeous harmonies make this an optimistic song of hope appropriate throughout the year.
All shall be well, And all shall be well, And all manner of thing shall be well. These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text. One of the most striking features is how this short text incorporates so much repetition. It's as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in. The opening section tries to capture musically some of that persistent optimism. Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now. Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.
All shall be well,And all shall be well,And all manner of thing shall be well.These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text.One of the most striking features is how this short text incorporates so much repetition. It’s as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in.The opening section tries to capture musically some of that persistent optimism.Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now.Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.

SATB Choir a Cappella

SKU: HL.14023340

Composed by Per Norgard. Music Sales America. Classical. Vocal Score. 26 pages. Music Sales #KP01444. Published by Music Sales (HL.14023340).

ISBN 9788759871911. 8.25x11.75x0.115 inches. English.

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title aret, The Year): Michael's Night is based on an earlier, simple choral song (Star Mirror,1987), now for 12 voices and composed such that an original idea of simultaneously displaced, opposite motions cf. the poem) comes out as desired. Of the Nocturnes Norgard writes: Summer's Sleep wascomposed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of the summer of life, which is asleep - while the heaven seed waits for the summer wind (invisible to every mind). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep, summer dream. The second nocturne, Michael's Night, takes its name from the author Ib Michael, whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit, starlit night. With the titles I have chosen I have stressed the mythic layer of the text, the summer night not as a dream but as sensual reality. The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003, out of gratitude for over a quarter of a century of inspiring collaboration.

SATB Choir

SKU: HL.14023538

Composed by Thomas Augustine Arne. Arranged by Vincent Novello. Music Sales America. Classical. Octavo. Music Sales #NOV400030. Published by Music Sales (HL.14023538).

UPC: 884088826178. 6.75x10.5x0.026 inches.

Vincent Novello was a British composer and Organist who gave the Novello publishing company its first embryonic form. Here he arranges Rule, Britannia! for Voice SATB with Piano accompaniment to introduce some contrapuntal interest in the verse.When 18th century British composer Thomas Arne included his song Rule, Britannia! in a masque based on the life of Alfred the Great that was presented at Cliveden, the country home of Frederick, Prince of Wales, he could not have imagined that more than two hundred seventy years later his ditty would be known throughout the British Isles and beyond. Rule, Britannia! is widely used in the Royal Navy and British Army and is featuredeach year at the Last Night of the Proms in the Royal Albert Hall as a national sing-along.At the time of writing, the Dutch actually 'ruled the waves,' so this song was more an exhortation than a status report. The lyrics were also a statement of civil liberty. Since Cromwell's time, Britain had had a standing army which could be turned against the native population. A standing navy, however, existed solely to protect the nation from invaders, protecting a free populace.

Vocal soloists, choir, and orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir, 2 Trp, timpani, bassoon, 2 V, Va, Continuo)

SKU: BA.TP01143

Cantata for soloists, choir and orchestra. Composed by Johann Sebastian Bach. Edited by Andreas Glöckner. This edition: urtext edition. Stapled. Barenreiter Urtext. Urtext of the New Bach Edition - Revised Edition. Study score. BWV 143. Duration 30 minutes. Baerenreiter Verlag #TP01143_00. Published by Baerenreiter Verlag (BA.TP01143).

ISBN 9790006205332. 22.5 x 16.5 cm inches. Language: German. Preface: Glöckner, Andreas.

Little is known about the genesis ofLobe den Herrn, meine SeeleBWV 143.

A transcription from the 19th century was for a long time considered the only source; the musical text of theNew Bach Editionwas based on this material. Recently however a copy of the score from 1762 has become available. It offers a more reliable musical text, rendering a complete revision of the cantata necessary.
On the basis of this new source, the work is presented here as part of theNew Bach Edition - Revisedin what is presumably its original form in C major with three trumpets. This orchestration is more typical of Bach's writing than the version for three horns in the surviving B-flat major version.

- Revised Urtext edition of the Weimar Cantata
- Based on theNew Bach Edition - Revised

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

(Volume 1: SATB). For SATB choir. Lent, Ash Wednesday, Holy Week. Sacred. Collection. Published by GIA Publications

(When the Roll Is Called Up Yonder/When We All Get to Heaven/On Jordan's Stormy Banks). By Mary Mcdonald. For SATB choir, piano (with optional rhythm section, 2 trumpets, 2 trombones). Sacred Anthem, Eastertide, General. Octavo. Published by Lorenz Publishing Company

Composed by Richard J. Clark. Text: The Roman Missal. Our most popular Mass setting! Liturgy. Published by CanticaNOVA Publications (C5.3136-2).

Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. Alliance Music Publications #AMP 1072. Published by Alliance Music Publications

Composed by Greg Gilpin. Octavo. Chorister's Guild #CGE381. Published by Chorister's Guild

Composed by Katy Perry, Max Martin, Sia Furler, Ali Payami, and Skip Marley. Arranged by Alan Billingsley. Choral Octavo. Alfred Pop Series. Pop; Secular. 16 pages. Published by Alfred Music

SSATB Choir, Piano - Level 3

SKU: CA.925400

Composed by Gabriel Faure. Arranged by Denis Rouger. Separate edition to the CD. Lieder, Secular choral music. Full Score. Op. 8,1. Duration 2 minutes. Carus Verlag #CV 09.254/00. Published by Carus Verlag (CA.925400).

ISBN M-007-24916-8. Key: C sharp minor. Language: French. Text: Prudhomme, Sully.

In Au bord de l'eau (By the water) two lovers sit as in a dream, removed from the real world with all its conflicts. They only take themselves seriously, the surrounding nature lies as beneath a dream-like veil: steadily like the river flowing by, the passing clouds, the babbling brook, time also passes. The poet Sully Prudhomme, the first Nobel prizewinner for literature (1901), ends the poem with the assertion that only love is immortal. With this knowledge, Gabriel Faure's setting turns from a dreamy, deceptive C sharp minor to a more promising C sharp major. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).

Composed by Eric Barnum. For SATB choir, a cappella. Octavo. Published by Alliance Music Publications

SATB choir

SKU: ST.EM18

Composed by Thomas Tomkins. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Collection. Stainer & Bell Ltd. #EM18. Published by Stainer & Bell Ltd. (ST.EM18).

ISBN 9790220216930.

Thou gh better known as a composer of church and keyboard music, Tomkins wrote secular vocal music that offers a compendium of all the various styles: canzonets, balletts, madrigals and 'sacred songs'. Each was dedicated to one of his relatives, a friend or a colleague. The names of these 28 dedicatees form a fascinating list at the end of the book.

CONTENTS
Adieu, ye city-poisoning towers (SSATB)
Cloris, whenas I woo (SSATB)
Come, shepherds sing with me (SSATB)
Fond men, that do so highly prize (SST (or A))
Fusca, in thy starry eyes (SSATB)
How great delight (SST)
It is my well-beloved's voice (SSATTB)
Love, cease tormenting (SSA (or T))
Music divine (SSATTB)
No more I will thy love (SATB)
O let me die for true love (SATB)
O let me live for true love (SATB)
Oft did I marle (SSAATB)
Our hasty life away dost post (SST)
Oyez! Has any found a lad? (SATB)
Phyllis, now cease to move me (SSATB)
Phyllis, yet see him dying (SSATB)
See, see the shepherds' Queen (SSATB)
Sure there is no god of love (SSA)
The fauns and satyrs tripping (SSATB)
To the shady woods (SSATB)
Too much I once lamented (SSATB)
Turn unto the Lord (SSATTB)
Was ever wretch tormented? (ST (or A) TB)
Weep no more, thou sorry Boy (SATB)
When David heard (SAATB)
When I observe (SSAATB)
Woe is me (SSATBB)
Yet again, as soon revived (SAT (or A) B).

By Malcom Archer And Harrison Oxley (Editors). For choir. Mixed voices (SATB). Sacred. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: beginning-intemediate.

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.