By Mark Hayes. For TTBB choir, piano (4-hands) (with optional solo). Sacred Anthem. Choral octavo. Published by Lorenz Publishing Company

(No. 3 from Love Was My Lord and King ). Composed by David Conte (1955-). For TTBB choir, a cappella. 21st Century. Octavo. Published by E.C. Schirmer Publishing

(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB choir, chamber Orchestra or Piano. Choral, general. Octavo. 12 pages. Published by E.C. Schirmer Publishing

Arranged by Robert L. Jefferson. For TTBB choir, a cappella. Male Voices. Spirituals, Leaflet. Level B (easy). Vocal score. 8 pages. Duration 3'. Published by Oxford University Press

If I Got My Ticket by Roy L. Belfield. For organ or piano (TTBB choir, Tenor Voice Solo). Choral. Spiritual. Moderately Difficult. Octavo. Published by MorningStar Music Publishers

Composed by Assersohn. Vocal score. 12 pages. Duration 3'. Oxford University Press #9780193532137. Published by Oxford University Press

By Burt Bacharach. Edited by Jerry Rubino. Arranged by Mac Huff. TTBB. Voices Rising. 12 pages. Published by Hal Leonard

Arranged by Dan Wessler. Barbershop Harmony Society. Jazz, Barbershop. Octavo. 8 pages. Published by Hal Leonard

SSAATTBB Choir

SKU: CA.967400

Composed by Jacek Sykulski. Edited by Stefan Schuck. CARUS CONTEMPORARY. Sacred vocal music. Full score. 16 pages. Duration 8 minutes. Carus Verlag #CV 09.674/00. Published by Carus Verlag (CA.967400).

ISBN 9790007187484. Language: Latin.

With the publication of his hypnotic Pater noster, Carus proudly presents Jacek Sykulski as a new composer in the Carus Contemporary series. Whilst Sykulski has achieved worldwide success as Director of the Academic Choir at the University of Poznan and the Poznan Boys' Choir, as a composer he has remained a well-guarded secret until now. In his sacred compositions he combines in music the deeply Catholic-imbued tradition of his country with his own compositional technique, characterized by a tremendous vocal sensuousness of sound and a conscious use of tonality enriched by dissonance. His Pater noster was composed in 2009 and revised in 2015 for a performance by the RIAS Kammerchor in Berlin. The first section of this three-part work for eight-part choir (tenors and sopranos also split into three) begins with the invocation Pater noster homophonically in A minor. This then introduces the Gregorian liturgical melody of the Our Father canonically and aleatorically, like a contemplative congregational hymn. The middle section calls out Dein Reich komme in increasingly insistent rhythmic declamation, more demanding, with hypnotic repetitions and intensifications. In the last section, Sykulski returns to the opening harmonies, but now a semitone lower on A flat, followed by an intensification at the words sed libera nos a malo - and delivery us from evil once more; this ends unresolved in a diatonic cluster on A flat as the paradigm of our imperfect earthly existence. The eight-minute unaccompanied composition is extremely singable, impressive, and not difficult to master. The piece is suitable for use in the liturgy, as well as in concerts and competitions.