Composed by Normand Gouin. Cathedral Series. Chrism Mass, Entrance/Communion Antiphon Setting, Ordination, Responsorial Psalm/Canticle Setting, Triduum/Three Days, Ordination/Installation, 21st Century, Communion. Octavo. Published by MorningStar Music Publishers (MN.80-602).

Composed by Normand Gouin. Cathedral Series. Catholic Year C Christ the King. Catholic Liturgical Setting, Chrism Mass, Entrance/Communion Antiphon Setting, Ordination, Responsorial Psalm/Canticle Setting, Christ the King, Ordination/Installation. Octavo. Published by MorningStar Music Publishers (MN.80-430).

Antiphon on Psalm 100 and Antiphon on Psalm 132 by Peter Hallock. For Trumpet in C. Bible Reference: Psalm 100, 132. Choral. Sacred, Easter, Choral. Easy. Choral Octavo. 4 pages. Published by GIA Publications

SKU: BA.BA05705

Edited by Janka Szendrei and László Dobszay. This edition: Complete edition. Linen. Monumenta Monodica Medii Aevi 5. 3 Teilbände. Complete edition, anthology. Baerenreiter Verlag #BA05705_00. Published by Baerenreiter Verlag (BA.BA05705).

ISBN 9790006496044. 24 x 17 cm inches.

Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms and the Lenten chant Parce Domine are presented here in chant with Latin text, followed by SAB polyphony with English text. This is an accessible and wonderfully appropriate anthem for your choir this. Lent, General. Published by CanticaNOVA Publications (C5.5042).

Composed by Normand Gouin. For SATB choir, congregation, cantor. Easter. Moderately Easy. Octavo. Scripture: Psalms. Published by MorningStar Music Publishers

Composed by David Gleba. Text: Missale Romanum. A setting of the actual Communion Antiphon for Midnight Mass. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5007).

SKU: CA.9198000

Composed by Gerhard Kronberg. This edition: Paperbound. German title: Deutsche Antiphonen Gdesingh. 5011401. Sacred vocal music, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Full score. 36 pages. Carus Verlag #CV 91.980/00. Published by Carus Verlag (CA.9198000).

ISBN 9790007236403.

By Nico Muhly. For Organ (Organ). Music Sales America. Softcover. 22 pages. St. Rose Music #SRO100039. Published by St. Rose Music

By Normand Gouin. For cantor, SATB choir, congregation, optional soprano descant, organ, optional C instrument. Memorial, Communion. Moderately Easy. Octavo. Published by MorningStar Music Publishers

By Claudio Monteverdi. Arranged by Bruce Smedley. For Voices: SAB. Piano reduction. Text: Gregorian antiophon for the Commemoration of the Exaltation of the Holy Cross, first vespers of the feast of the Seven Dolours of the Blessed Virgin Mary. Choral Sacred. 4 pages. Published by GIA Publications.
Level: easy.

Organ

SKU: CA.9117749

Composed by P. Benno Gruber. Edited by Konrad Ruhland. Music from East Bavaria. German title: Vier Marianische Antiphonen Op.1 1603801. Sacred vocal music. Single Part, Organ. 4 pages. Carus Verlag #CV 91.177/49. Published by Carus Verlag (CA.9117749).

ISBN 9790007232979.

Also included in the set. Score and part available separately - see item CA.9117700.

Composed by Julian Darius Revie. Cathedral Series. Catholic Year C Ordinary26. Entrance/Communion Antiphon Setting, Lent, Communion. Choral score. Published by MorningStar Music Publishers (MN.50-9860).

Violins 1 and 2

SKU: CA.9117711

Composed by P. Benno Gruber. Edited by Konrad Ruhland. Music from East Bavaria. German title: Vier Marianische Antiphonen Op.1 1603801. Sacred vocal music. Single Part, Violin 1 and 2. 4 pages. Carus Verlag #CV 91.177/11. Published by Carus Verlag (CA.9117711).

ISBN 9790007232962.

Scor e available separately - see item CA.9117700.

Horn, Organ or Piano

SKU: CA.2912100

Composed by Helmut Bornefeld. German title: Antibium. Full score. Composed 1973. BoWV 121. 20 pages. Carus Verlag #CV 29.121/00. Published by Carus Verlag (CA.2912100).

ISBN 9790007203467. Language: all languages.

2 horns

SKU: CA.9117731

Composed by P. Benno Gruber. Edited by Konrad Ruhland. Music from East Bavaria. German title: Vier Marianische Antiphonen Op.1 1603801. Sacred vocal music. Single Part, 2 Horns. 2 pages. Carus Verlag #CV 91.177/31. Published by Carus Verlag (CA.9117731).

Score available separately - see item CA.9117700.

7 Magnificat-Antiphonen by Arvo Part (1935-). For SATB Choir. Choral part(s). Standard notation. Published by Universal Edition

Choir

SKU: CA.9117705

Composed by P. Benno Gruber. Edited by Konrad Ruhland. Music from East Bavaria. German title: Vier Marianische Antiphonen Op.1 1603801. Sacred vocal music. Choral Score. 8 pages. Carus Verlag #CV 91.177/05. Published by Carus Verlag (CA.9117705).

ISBN 9790007120290.

Scor e available separately - see item CA.9117700.

Choir

SKU: ST.EC43

Composed by Robert Fayrfax. Edited by Roger Bray. Library Volumes. Edited by Roger Bray. First published in 2003. Pages: 120. Format: Hardback. Dimensions (mm): 325 x 246 x 15. Choral Score. Stainer & Bell Ltd. #EC43. Published by Stainer & Bell Ltd. (ST.EC43).

ISBN 9790220220289.

The first volume of several to be devoted to Latin church music by composers of the late fifteenth and early sixteenth centuries, EC43 contains all that survives of Fayrfax's O bone Iesu trilogy. From the material shared between the Mass and antiphon (an early example of English parody technique) it has been possible to reconstruct part of the latter, of which only the mean survives. In addition, the Appendix contains the conclusion of a fragmentary composition from the Jena Choirbook, which may also be the work of Fayrfax.

Composed by Albert Ligotti and Ralph Vaughan Williams (1872-1958). Arranged by Albert Ligotti. 20th Century. Score and instrument parts. Galaxy Music Corporation #1.3368. Published by Galaxy Music Corporation

SATB Choir (Mixed Choir)

SKU: HL.14063892

Composed by John Tavener. Choral. Hymns & Chorals. General Merchandise. Composed 2013. 96 pages. Duration 240 seconds. Chester Music #CH81246R. Published by Chester Music (HL.14063892).

ISBN 9781785588341. UPC: 840126939231. 6.75x9.75x0.304 inches.

This album features 16 of John Tavener's anthems for SATB choir.

Contents include: 'A Christmas Round', 'Advent Antiphon', 'Agnus Dei', 'As one who has slept', 'Exhortation and Kohima', 'TheFounder’s Prayer', 'God is with us (A Christmas Proclamation)', 'A Hymn to the Mother of God', 'The Lamb', 'Mother of God, here I stand', 'Nunc dimittis', 'O that we were there', 'Rocking', 'Song for Athene', 'Today theVirgin' and 'What God is, we do not know'.

By John Tavener (1944-). For 2-Part Choir (SA). Music Sales America. Christmas. 4 pages. Chester Music #SOS02440. Published by Chester Music

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

Choir, congreg., instruments ad libitum (Choir, Congregation, Instrument ad libitum)

SKU: BA.BA03950

Composed by Gerhard Schwarz. Stapled. Choral score, anthology. Baerenreiter Verlag #BA03950_00. Published by Baerenreiter Verlag (BA.BA03950).

ISBN 9790006441914. 29.7 x 21 cm inches.

Sing- und Spielpartitur fur 3-8 gleiche oder gemischte Stimmen (mit beiliegendem Singblatt zu den einstimmigen Antiphonen fur Gemeinde oder Chor) beliebige Instrumente ad lib.
Print on demand (POD).

SKU: CA.9117700

Composed by P. Benno Gruber. Edited by Konrad Ruhland. This edition: Paperbound. Music from East Bavaria. German title: Vier Marianische Antiphonen Op.1 1603801. Sacred vocal music. Full score. 20 pages. Carus Verlag #CV 91.177/00. Published by Carus Verlag (CA.9117700).

ISBN 9790007120504.

(An Order for Morning Prayer). By Kevin Vogt. For Unison; Presider, Cantor; SATB Chorus and Keyboard accompaniment. Other. Sacred. 28 pages

Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580).

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

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.