Movement I from To Shiver the Sky. Composed by Christopher Tin. BH Secular Cho...(+)
Movement I from To Shiver
the
Sky. Composed by
Christopher
Tin. BH Secular Choral.
Concert, Festival, Games
/
Video and Electronic,
Italian.
Octavo. Duration 230
seconds.
Boosey and Hawkes
#979-0-051-
48598-7. Published by
Boosey and
Hawkes
Adam Lay Ybounden Chorale SSATBB SSATBB, Piano - Intermédiaire GIA Publications
SSATBB choir, piano reduction - Intermediate SKU: GI.G-8398 Composed by C...(+)
SSATBB choir, piano
reduction - Intermediate
SKU: GI.G-8398
Composed by Charles
Snider. Christmastide,
Christmas Vigil,
Christmas Night, Mary
Mother of God. Christmas.
Sacred. Octavo. 4 pages.
GIA Publications #8398.
Published by GIA
Publications (GI.G-8398).
English. Text Source:
Anonymous, English, 15th
c.
Bring new life
to your Lessons and
Carols service through
the ancient beauty of
this 15th-century English
text, which reflects on
the mystery of the sin of
Adam that led to
Mary’s
queenship—thanks
be to God! A
pronunciation guide and
paraphrase are
provided.
SSATBB choir SKU: CA.964100 Responsory in the Nocturn on Good Friday(+)
SSATBB choir
SKU:
CA.964100
Responsory in the
Nocturn on Good
Friday. Composed by
Ko Matsushita.
Contemporary Choir Music.
Sacred vocal music, Lent
and Passiontide. Full
score. Duration 6
minutes. Carus Verlag #CV
09.641/00. Published by
Carus Verlag (CA.964100).
ISBN 9790007143541.
Text language:
Latin.
The Good
Friday Responsory
Tenebrae factae sunt for
six-part chorus was
commissioned in 2012 for
Peking University Student
Choir and was premiered
at the World Choir Games
in Cincinnati, Ohio, USA
conducted by Hou Xijin.
It is an ambitious work
with a fervent intensity.
Matsushita sets the two
last words of Jesus, Deus
meus, ut quid me
dereliquisti? [My God,
why hast thou forsaken
me] and Pater, in manus
tuas commendo spiritum
meum [Father, into thy
hands I commend my
spirit] as pained
outcries in Stravinskyian
harshness, in chords
characterized by
tritones, as a truly
superhuman work of
redemption whose Easter
message of hope only
appears in the last
conciliatory F major
chord. Although this work
lies slightly beyond the
upper limit of the
musical and vocal
technical demands of the
Carus Contemporary
series, it is well within
the abilities of
ambitious chamber
choirs.