(Recorded by Betty Who). By Peter Walsh and Jessica Newman [Betty Who]. Arranged...(+)
(Recorded by Betty Who).
By Peter Walsh and
Jessica Newman [Betty
Who]. Arranged by Greg
Gilpin. Choir Secular.
SATB choir. Choral
Octavo. Pop Choral. Pop.
12 pages. Published by
Alfred Music
SATB choir & organ (SATB) SKU: OU.9780193354043 Composed by Michael Berke...(+)
SATB choir & organ (SATB)
SKU:
OU.9780193354043
Composed by Michael
Berkeley. Christmas Songs
& Carols - Mixed Voices.
Vocal score. 20 pages.
Duration 6'. Oxford
University Press
#9780193354043. Published
by Oxford University
Press (OU.9780193354043).
ISBN 9780193354043. 12
x 8 inches.
For
solo baritone, SATB
chorus and organ With a
text by G. M. Hopkins,
this work is interspersed
with frequent solo
passages, initially for
baritone (whose delicate
solo opens the piece) but
later for tenor, soprano,
and alto soloists also.
The polyphonic choral
passages provide a
balance to these frequent
solos, to mesmerising
effect.
Choral (SATB divisi) SKU: HL.1427832 By The Carpenters. By Bonnie Sherida...(+)
Choral (SATB divisi)
SKU: HL.1427832
By
The Carpenters. By Bonnie
Sheridan and Leon
Russell. Arranged by Mac
Huff. Voices Rising.
Concert, Pop, Seventies.
Octavo. 12 pages.
Duration 250 seconds.
Published by Hal Leonard
(HL.1427832).
UPC:
196288201823.
6.75x10.5x0.029
inches.
Lush
harmonies and an artful
piano accompaniment join
together seamlessly in
this quintessential
Carpenters ballad,
perfect for concert and
community choirs.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Cello/Double Bass.
Composed 1723. BWV 60. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.060/14. Published by
Carus Verlag
(CA.3106014).
ISBN
9790007043452. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Study score.
Composed 1723. BWV 60. 64
pages. Duration 20
minutes. Carus Verlag #CV
31.060/07. Published by
Carus Verlag
(CA.3106007).
ISBN
9790007043407. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Set of Orchestra
Parts. Composed 1723. BWV
60. Duration 20 minutes.
Carus Verlag #CV
31.060/19. Published by
Carus Verlag
(CA.3106019).
ISBN
9790007134044. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and parts available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Viola. Composed 1723. BWV
60. 4 pages. Duration 20
minutes. Carus Verlag #CV
31.060/13. Published by
Carus Verlag
(CA.3106013).
ISBN
9790007043445. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Choral Score.
Composed 1723. BWV 60. 2
pages. Duration 20
minutes. Carus Verlag #CV
31.060/05. Published by
Carus Verlag
(CA.3106005).
ISBN
9790007043391. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score available
separately - see item
CA.3106000.
Soli ATB, SATB Choir, 2 Obda, Cor, 2 Vl, Va, Bc - Level 3 SKU: CA.3106049 ...(+)
Soli ATB, SATB Choir, 2
Obda, Cor, 2 Vl, Va, Bc -
Level 3
SKU:
CA.3106049
Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Organ. Sacred vocal
music, Cantatas, End of
the church year, Whitsun.
Single Part, Organ.
Composed 1723. BWV 60. 24
pages. Duration 20
minutes. Carus Verlag #CV
31.060/49. Published by
Carus Verlag
(CA.3106049).
Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Full score.
Composed 1723. BWV 60. 60
pages. Duration 20
minutes. Carus Verlag #CV
31.060/00. Published by
Carus Verlag
(CA.3106000).
ISBN
9790007043377. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen
Geist..
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Violin 1. Composed 1723.
BWV 60. 8 pages. Duration
20 minutes. Carus Verlag
#CV 31.060/11. Published
by Carus Verlag
(CA.3106011).
ISBN
9790007043421. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.060/21 oboe d'amore 1,
1x 31.060/22 oboe d'amore
2, 1x 31.060/31 horn, 1x
31.060/32 trumpet. German
title: O Ewigkeit, du
Donnerwort 4. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Set of Orchestra
Parts. Composed 1723. BWV
60. 16 pages. Duration 20
minutes. Carus Verlag #CV
31.060/09. Published by
Carus Verlag
(CA.3106009).
ISBN
9790007043414. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and parts available
separately - see item
CA.3106000.
Composed by Randol Alan Bass. Multi-Movement/Large Choral Work. Christmas, Sacre...(+)
Composed by Randol Alan
Bass.
Multi-Movement/Large
Choral Work. Christmas,
Sacred, 21st Century.
Choral score. Randol Bass
Music #RBM-110. Published
by Randol Bass Music
SATB Choir SKU: HL.14013676 Composed by George Frideric Handel. Music Sal...(+)
SATB Choir
SKU:
HL.14013676
Composed
by George Frideric
Handel. Music Sales
America. Classical.
Choral Score. Music Sales
#NOV252745. Published by
Music Sales
(HL.14013676).
Bel
Piacere
(Countless Pleasures) is
a song from the opera
Rinaldo. It has
been arranged for SATB
choir by Stanford
Robinson, with the
words translated into
Enlgish by Geoffrey
Dunn. A Piano
reduction is provided for
rehearsal
purposes.
G F
Handel (1685-1759)
was a German-born British
composer and organist who
spent his life working in
London. He is credited
with popularising opera
in Britain, both
importing Italian works,
and composing his own.
Rinaldo was
composed in 1711, and was
the first opera written
in Italian for the London
stage. The libretto was
written by the Italian
poet Giacomo
Rossi.
(A Choral Festival of Traditional Carols). Arranged by Phillip Keveren. For SATB...(+)
(A Choral Festival of
Traditional Carols).
Arranged by Phillip
Keveren. For SATB Choir.
Christmas. Booklet.
Duration 13'00 .
Published by Word Music
. Booklet. Christmas.
SATB choir and piano (SATB) SKU: OU.9780193862289 Composed by Libby Larse...(+)
SATB choir and piano
(SATB)
SKU:
OU.9780193862289
Composed by Libby Larsen.
Secular Choral - Mixed
Voices. Vocal score. 24
pages. Duration 3'.
Oxford University Press
#9780193862289. Published
by Oxford University
Press (OU.9780193862289).
ISBN 9780193862289. 12
x 8 inches.
For
SATB chorus and piano
This salute to the spirit
of Louis Armstrong
breathtakingly
incorporates 'Basin
Street Blues', 'Lady be
good', 'Tiger Rag', 'When
the saints go marching
in', and more
surprisingly excerpts
from 'Clair de Lune' and
from Brahms' A flat major
Piano Serenade. It is in
one movement, which may
be performed on its own,
taken from the choral
suite Seven Ghosts.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Viola 3. Sacred vocal
music, Requiem. Single
Part, Viola 3. 8 pages.
Duration 28 minutes.
Carus Verlag #CV
27.318/15. Published by
Carus Verlag
(CA.2731815).
ISBN
9790007201906. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs. Score and
part available separately
- see item
CA.2731800.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Violin 2. Sacred vocal
music, Requiem. Single
Part, Violin 2. 8 pages.
Duration 28 minutes.
Carus Verlag #CV
27.318/12. Published by
Carus Verlag
(CA.2731812).
ISBN
9790007201876. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs. Score and
part available separately
- see item
CA.2731800.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Sacred vocal music,
Requiem. Vocal score. 56
pages. Duration 28
minutes. Carus Verlag #CV
27.318/03. Published by
Carus Verlag
(CA.2731803).
ISBN
9790007164638. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs. Score
available separately -
see item CA.2731800.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Sacred vocal music,
Requiem. Full score. 72
pages. Duration 28
minutes. Carus Verlag #CV
27.318/00. Published by
Carus Verlag
(CA.2731800).
ISBN
9790007164614. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Viola 2. Sacred vocal
music, Requiem. Single
Part, Viola 2. 8 pages.
Duration 28 minutes.
Carus Verlag #CV
27.318/14. Published by
Carus Verlag
(CA.2731814).
ISBN
9790007201890. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs. Score and
part available separately
- see item
CA.2731800.