Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
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 Warâ€
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.
Kottarainen Chorale SATB SATB A Cappella Alliance Music Publications
Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. ...(+)
Composed by Riika
Pietilainenen-Caffrey.
Edited
by Lawrence Kaptein.
Octavo.
Alliance Music
Publications
#AMP 1072. Published by
Alliance Music
Publications
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
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:Â 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.).ÂÂ.
Mixed choir SKU: ST.B954 Composed by Andrew Pratt and Jan Berry. Edited b...(+)
Mixed choir
SKU:
ST.B954
Composed by
Andrew Pratt and Jan
Berry. Edited by Andrew
Pratt. Hymns & Relgious
Drama. Words and music to
refresh the church's
ministry of healing. .
Edited by Jan Berry and
Andrew Pratt with Janet
Eldred and Anne Sardeson.
Pages: 152. Format:
Paperback. Choral Score.
Stainer & Bell Ltd.
#B954. Published by
Stainer & Bell Ltd.
(ST.B954).
ISBN
9780852499542.
The
outcome of a fruitful
collaboration of
theologians, writers and
musicians working at the
retreat and therapeutic
centre of Holy Rood House
in Yorkshire, this new
collection articulates
the needs of a
contemporary ministry of
healing through the
agency of hymns, the
church's most resonant
and expressive form of
worship.
Acknowledging the impact
of medical science in
vastly expanding the
range of the possible in
every aspect of our
living and dying,
eighty-three texts tackle
a rich diversity of
themes: infant death,
illness and suffering,
ageing and dementia, the
genome, mortality and
bereavement, grief and
lament, pain and despair
- including pain and
despair from the failure
of healing - but also
wisdom and resilience,
healing as part of a
spiritual holism of mind
and body, and as a
metaphor for social and
political justice and
care for the environment.
The wealth of music
includes new tunes and
familiar ones, and the
anthology concludes with
a section of twelve short
or repetitive texts to be
used in conjunction with
prayer.
Hymns of Hope and
Healing is the
product of many voices,
from those of widely
experienced authors to
others taking their
promising early steps in
the form. It will provide
a vehicle for worship and
reflection for those
involved in chaplaincy,
in therapies and
counselling, and all in
the wider church with an
interest in this ancient
ministry. Witnessed
through the life, death
and resurrection of
Christ, it is refreshed
and re-imagined here for
a time both of
breathtaking scientific
advance, and of an urgent
need to affirm our
wholeness and faith while
embracing the momentous
challenges to our
traditional understanding
of health and
healing.
Mixed choir SKU: FG.55011-567-5 Composed by Alex Freeman. Fennica Gehrman...(+)
Mixed choir
SKU:
FG.55011-567-5
Composed by Alex Freeman.
Fennica Gehrman
#55011-567-5. Published
by Fennica Gehrman
(FG.55011-567-5).
ISBN
9790550115675.
Alex
Freeman's (b. 1972)
Cathedral of Spring for
chamber choir (2019) to
poems of e.e. cummings
and Robert Frost was
commissioned and
premiered by Somnium
Ensemble. The composer
tells: For the
celebration of the 10th
anniversary of Somnium
Ensemble (Finland), I was
commissioned to write a
piece with spring as a
central theme. While
contemplating that and
perusing appropriate
poetry, I was inspired by
memories of the
night-time sky in early
spring--the warm air, the
teeming, buzzing energy
of life all around, and
an expansive dome of
stars overhead. I then
imagined that moment in
time as a kind of sacred
space; this is the point
where the cathedral
notion came to mind. The
frenetic and joyous
poetry of e.e. cummings,
from his Epithalamion,
gives an exclamatory
introduction to the set,
followed by his vision of
spring from the point of
view of giddy children in
his iconic poem, [in
Just-]. We then take a
moment to contemplate the
ephemerality of all this
beauty (spring giveth and
spring taketh away, i.e.
an offertorium of sorts);
Robert Frost's
Blue-Butterfly Day places
us in a moment where, by
chance, we find ourselves
enveloped by a delicately
fluttering swarm of
butterflies. Peaceful and
still, yet in constant
flux, we spend a some
time taking that
phenomenon in, while also
experiencing a twinge of
the realisation that this
is truly fleeting. The
final movement, returning
to a later stanza from
Epithalamion, cummings's
sparkling paean to May is
set as a kind of final
anthem..
SATB choir SKU: WD.080689655173 Composed by Daniel Semsen. Choral, cantat...(+)
SATB choir
SKU:
WD.080689655173
Composed by Daniel
Semsen. Choral, cantatas.
Christmas. Book. Word
Music #080689655173.
Published by Word Music
(WD.080689655173).
UPC:
080689655173.
Dove
Award winning songwriters
Joel Lindsey and Jeff
Bumgardner, with Dove
Award winning arranger/
orchestrator Daniel
Semsen, have, once again,
brought to life an
astoundingly appealing
new musical for
Christmas, Love Was
Born a King. With a
slew of critically
acclaimed dramatic
musicals for Christmas
under their belt, this
highly awarded creative
team has done it again,
this time with a twist!
Their newest offering,
Love Was Born a
King, is actually 2
musicals in one! Fully
developed as a dramatic
musical in the vein of
their previous successes
(How to Have the Best
Christmas Ever, An
Unexpected Christmas,
Welcome to Bethlehem,
Under a Starry Sky),
Love Was Born a
King certainly
doesn’t disappoint
those in search of their
next, new, dramatic
musical. For others, who
love the music heard in
those previously released
musicals but
aren’t looking for
a dramatic musical, Joel
and Jeff have delivered
an amazing choir with
narrator musical option
that fully utilizes all
the songs found in the
drama version…
literally, 2 musicals in
1! The option with drama
deals poignantly and
sensitively with the
plight of the homeless,
drawing on the
responsibility of
God’s people to
minister and care for
those in need. And in the
course of helping others,
finding that we just
might find ourselves
being ministered to in
the process! If instead
you’re looking for
a choir with narrator
option, you’ll
discover the same
brilliantly written songs
wrapped in a beautifully
expressed narrative
highlighting the
traditional Christmas
story focusing on the
power and beauty of
God’s Love come
down to earth, manifested
in the birth of the
Christ Child.
By Orlande De Lassus (1532-1594). Edited by Budde, Rudolf. This edition: paperbo...(+)
By Orlande De Lassus
(1532-1594). Edited by
Budde, Rudolf. This
edition: paperbound.
Sacred, Motets, Psalms,
Latin; Choral
Collections, Mixed Choir;
Occasions: Peace and
Justice, Prayer, Praise
and thanks, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Psalms,
Mourning, Death; Use
during church year:
Advent, Specia.
Collection. 52 pages
Composed by Marty Hamby.
Choral, cantatas.
Christmas. Book. Word
Music #080689636172.
Published by Word Music
(WD.080689636172).
UPC:
080689636172.
Chris
tmas is a time for
gratitude, a time for
celebration and
expectation! And it is
a time for music!
Songs of the season are
everywhere around us,
reminding us of the birth
of the Savior, the
anticipated coming of the
Christ Child, the advent
of the Messiah, and the
JOY that is ours
as believers. As
followers of Christ, we
have done more than just
anticipate His coming; we
have lived the
reality of having
received the Son of God
into our hearts, of
knowing Him as Savior,
and worshipping Him as
the King of kings and
Lord of lords! And
because of the wonderful
gift of God’s Son,
given to us, we not only
hear the music of
Christmas, we SING
the song of Christmas,
the Song of
Joy!
Songs both new and old,
celebratory and
worshipful, joy-filled
and awe-inspired,
soul-searching and
soul-soothing, weave a
tapestry of Christmas
wonder that invites the
believer to worship and
rejoice in His presence,
while offering Hope to
the downtrodden and
Salvation to the
lost. In perhaps some of
its most powerful
moments, Song of
Joy ushers the
listener into the serene
and peaceful strains of
the beloved carol
Silent Night! Holy
Night!, followed by
compelling narration
leading to the poignant
and reflective new song,
Somewhere in Your
Silent Night (made
popular by Casting
Crowns). That is followed
by a song of invitation
and worship with
Crowder’s Come
As You Are,
encouraging the lost to
come to Christ and give
Him their heart. This
song of invitation leads
us into the declaration
that He is the King of
kings who will reign
forever in the medley
featuring
Tomlin’s, He
Shall Reign
Forevermore, and
Elevation
Worship’s, Only
King Forever.
Choral (SATB) SKU: HL.303828 By The Temptations. Arranged by Mark A. Brym...(+)
Choral (SATB)
SKU:
HL.303828
By The
Temptations. Arranged by
Mark A. Brymer. Pop
Choral Series. Broadway,
Medley, Motown, Musicals,
Pop, R&B, Show Choir.
Octavo. Duration 440
seconds. Published by Hal
Leonard (HL.303828).
UPC: 888680969042.
6.75x10.5x0.062
inches.
The 2019,
Tony Award-winning
jukebox musical Ain't Too
Proud: The Life and Times
of The Temptations is
making waves on Broadway
by infectiously telling
the origin story of the
chart-topping, R&B
hitmakers from Detroit's
famed Motown Records
label. Told from the
perspective of founder
and frontman Otis
Williams, this dazzling
medley features the hits
you love, including:
Ain't Too Proud to Beg,
Get Ready, Just My
Imagination (Running Away
with Me), My Girl and
Papa Was a Rollin'
Stone.
Mixed choir SKU: ST.B891 Composed by Andrew Pratt. Hymns & Relgious Drama...(+)
Mixed choir
SKU:
ST.B891
Composed by
Andrew Pratt. Hymns &
Relgious Drama. Hymns
from a Spiritual Journey.
Choral Score. Stainer &
Bell Ltd. #B891.
Published by Stainer &
Bell Ltd. (ST.B891).
ISBN
9780852498910.
Hymn
s from a Spiritual
Journey In
Reclaiming
Praise, Andrew Pratt
has charted a spiritual
journey of hope and
renewal that will inspire
all those who sing his
hymns to re-examine the
roots of their faith or
doubt.
Following
on from his two previous
collections, Blinded
by the Dazzle and
Whatever Name or
Creed, the 150 new
texts gathered here bring
a personal and
21st-century perspective
to a range of themes
including covenant,
creativity, faith and
science, justice, lament
and persecution,
enfolding time past and
time future in a
pertinent message for the
present.
Edited by Michael Perry. Arranged by Lloyd Larson. For SATB choir. Blues/Gospel/...(+)
Edited by Michael Perry.
Arranged by Lloyd Larson.
For SATB choir.
Blues/Gospel/Spirituals.
Sacred. Choral octavo. 8
pages. Published by Hope
Publishing Company
In Christ Alone Chorale SATB SATB [Octavo] Hope Publishing Company
By Keith Getty / Stuart Townend. Edited by Michael Perry. Arranged by Lloyd Lars...(+)
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
Alto, Mixed choir (SATB), Piano SKU: BA.BA11309 Composed by Camille Saint...(+)
Alto, Mixed choir (SATB),
Piano
SKU:
BA.BA11309
Composed
by Camille Saint-Saens.
Edited by Christina M.
Stahl. This edition:
urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11309. Published by
Baerenreiter Verlag
(BA.BA11309).
ISBN
9790006577705. 27 x 19 cm
inches. Text Language:
English.
It is a
small music history
sensation: Thanks to Yves
Grard an unknown and
unpublished manuscript
penned by Camille
Saint-Saëns has been
unearthed in the
Mdiathèque Jean Renoir
in Dieppe in
France.
It is the
top four instrumental
parts which make this
manuscript something of a
sensation. Placed under
each other are
â??Saxophone Soprano en
Si bâ?, â??Saxophone
Alto en Mi bâ?,
â??Saxophone Tnor en Si
bâ? and â??Saxophone
Baryton en Mi bâ?,
strings, soprano solo
with chorus and organ.
Musical history has
hitherto credited
Jean-Baptiste Singele
(1812â??1875) with
having written the first
saxophone quartet, his
opus 53, which he
completed in 1857. Now
this historiography
clearly has to be
revised. The date 1854
has been found under the
first page of the
treasure from Dieppe,
which is pasted over and
also sewn, meaning that
Saint-Saënsâ?? work
was written three years
earlier than that of
Singele.
In
contrast to Singele,
Saint-Saëns does not
have the wind instruments
taking solo parts but
rather uses their tonal
colour to depict textual
moods and nuances. On the
one hand the saxophones
accompany the choral
parts (certainly singable
by amateurs) and support
the human voices in fugal
passages. On the other
hand, they take the
melody in the purely
orchestral
passages.
Saint-Sa
ëns wrote the motet in
the period when he had
taken up his first
permanent appointment as
organist at the Church of
Saint-Merri in Paris. He
revised the work several
times over the decades,
changing the motifs at
the beginning, correcting
obvious mistakes,
reworking the ending,
eventually changing the
instrumentation several
times and even â??
probably in the final
stage â?? replacing the
Latin text with an
English one. Today,
three-and-a-half versions
have been handed down,
one of them stopping
after just a few pages.
The compositional steps
have been successfully
reconstructed by means of
detailed detective work.
Furthermore, the first
saxophone version (BA
11305) and the last
English piano version (BA
11309) have been edited
to produce a
scholarly-critical
edition.
The
present edition of the
English version for
soprano solo, choir and
piano (BA 11309) serves
both as a full score and
as a vocal score due to
the
instrumentation.
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
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen ba...(+)
Choral (SATB Choir)
SKU: HL.48021234
From Cantata
academica, Carmen
basiliense. Composed
by Benjamin Britten.
Boosey & Hawkes Sacred
Choral. Classical.
Octavo. 16 pages. Boosey
& Hawkes #M051482474.
Published by Boosey &
Hawkes (HL.48021234).
ISBN 9781458423542.
UPC: 884088642037.
6.75x10.5
inches.
Text: in
Latin compiled from the
charter of the
University, and from
older orations in praise
of Basle by Bernhard
Wyss.
Publisher:
Boosey &
Hawkes
Difficulty
level: 4 (for
chorus)
Britten's
genius lifts this work
above being just a worthy
celebration of the 500th
anniversary of the
foundation of Basle
University. It is
tongue-in-cheek and
mockingly non-academic
while referring all the
time to academic musical
forms and formulae. It is
written in two parts
(everything is in the
statutory Latin including
the titles of the parts -
Pars I and Pars II). The
titles of the movements
show Britten's intention
to show off a wide
variety of techniques.
Here are some examples:
Chorale/Alla Rovescio
(the theme is given and
responded to with the
same melody upside
down)/Recitativo/Tema
seriale con fuga/Canone
ed ostinato. There is a
good deal of humour
here.
There are
seven movements in Pars I
and six in Pars II. The
tenor soloist is given
three florid recitatives,
accompanied only by a
piano, which act as
bridges between other
orchestrally accompanied
movements. Of these the
most noteworthy are the
Arioso con canto popolare
for soprano solo with
tenors and basses who hum
a student song; another
terrific Britten scherzo;
and a wonderfully raucous
final pair of movements
(Canon ed ostinato and
Corale con canto) where
Britten seems to be aping
the Vivat Regina! cries
in Parry's I was glad or
encouraging the kind of
noisy 'I'm from the best
university' kind of
student touchline shout.
This has outrageously
high notes for the tenors
(top B) which further
endorse this feeling.
There are real echoes of
the Spring Symphony (see
separate entry) final
movement here which are
further underlined by the
last section of the
Cantata which brings in
the bells, piano, huge
percussion and the
inevitable chorale in
which the choir sings
'that a free academy may
thrive in a free
community, for ever the
ornament and treasure of
illustrious
Basle'.
This may
not be Britten at his
most soul-searching but,
as always, there is
plenty here to enjoy,
especially if the work is
not taken too seriously.
It is a celebratory,
occasional piece and it
could be well taken up by
other academic
establishments
celebrating big
anniversaries. The chorus
parts are not very
difficult, though they do
present challenges for
the choir - not least in
having tenors capable of
those very high notes at
the end. The Tema seriale
con fuga is sinewy and
needs careful tuning. It
also has the subject
regularly given upside
down after its initial
sounding by the basses.
All good
fun.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Arranged
by Sven Hiemke. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, End of
the church year, Trinity,
Praise and thanks. Vocal
score. Composed 1724. BWV
139. 32 pages. Duration
20 minutes. Carus Verlag
#CV 31.139/03. Published
by Carus Verlag
(CA.3113903).
ISBN
9790007181192. Language:
German/English. Text:
Rube, Johann
Chr.
Bach's chorale
cantata with its opening
text Wohl dem, der sich
auf seinen Gott recht
kindlich kann verlassen
(Tis well with him who on
the Lord trusts just like
a child) BWV 139 was
performed for the first
time on 12 November 1724
in the main Leipzig
church service. The
cantata text, based on
the hymn of the same name
by Johann Christoph Rube
(1665-1746), is in praise
of trust in God. In the
opening chorus, full of
depth of feeling, the
hymn melody is heard
throughout; this is
followed by a lively
tenor aria Gott ist mein
Freund (God is my friend)
with a musical depiction
of the adversary raging
in vain, and in the bass
aria Das Ungluck schlagt
auf allen Seiten
(Misfortune assails me on
every side) Bach presents
both drama and Baroque
imagery. One of the two
solo violin parts for the
tenor aria is lost, so
our edition offers a
reconstruction. The
virtuoso violin part of
the bass aria was
evidently based on a part
for violoncello piccolo,
now lost. The edition
provides for performance
by violin or violoncello.
Score available
separately - see item
CA.3113900.
Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, ...(+)
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.
By Brian Doerksen. Arranged by Arnold B. Sherman. (SATB). Scripture References:...(+)
By Brian Doerksen.
Arranged by Arnold B.
Sherman. (SATB).
Scripture References:
Psalm 29:2 -- Psalm
95:6,9 -- Psalm 100:2 --
Isaiah 55:1 --
Philippians 2:5-11. Call
To Worship, Gathering,
Jazz/SwingStyle, Praise
and Worship, Worshiping,
Contemporary and Sacred.
Print Music Single (SATB
with optional Handbells
and Rhythm). 12 pages.
Published by Hope
Publishing Company.
Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, ...(+)
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, ...(+)
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, ...(+)
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, ...(+)
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, ...(+)
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.