Luke 1:46-55. Par TROTTA MICHAEL JOHN. This seven-movement, 40-minute work for choir, soprano and bass soli, and orchestra delivers a tapestry of melodic richness to powerfully portray the anticipation of the wonder and mystery of the birth of a savior. The piano/vocal score may be performed in Latin or English based on the needs of the ensemble and performance. Movements are: Magnificat anima mea Dominum (SATB and orchestra); Quia fecit (soprano solo and orchestra); Ave rosa sine spinis (SATB, unaccompanied); Fecit Potentiam (SATB and orchestra); Ecce ancilla (SATB, unaccompanied);Esurientes (baritone solo and orchestra); Sicut locutus est (SATB and orchestra). Available with Chamber Orchestra (5-13 players) or Full Orchestra accopaniments. / Date parution : 2021-11-03/ Répertoire / Ch?ur Mixte SATB, Solistes Soprano et Basse

Motet. Par BUXTEHUDE DIETRICH. Dietrich Buxtehude?s Magnificat is an opulent-sounding work, which obtains striking results with musically simple means. It contains no particular difficulties and makes a welcome addition to the repertoire of many choruses. Besides the score with enclosed instrumental parts, the choral score and supplementary parts can be purchased seperately./ Répertoire / SSATB

Für Gemischten Chor- Geistliches Repertoire, Band I. Advent To Palm Sunday / Date parution : 2019-09-05/ Recueil / Choeur Mixte

This exclusive collection brings together 12 of Nico Muhly?s sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly?s Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best.  'Choral music has always been at the emotional core of my musical output. Even when I?m writing large-scale orchestral works (or indeed chamber music) I alwaysfind myself returning to techniques and textures I?ve greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners? ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets and represent a decade and a half of output.' - Nico Muhly

Paperback-William Denis Browne's Magnificat And Nunc Dimittis In A for SATB Choir and Organ.Written in 1911 while Browne was at Cambridge the work is kept in a mainly homophonic style with the Organ supporting. Tenors and basses sing four phrases in unison starting with 'He hath showed strength with his arm' and a soprano solo takes the phrase 'He rememb'ring his mercy'. The Gloria returns to the music of the opening and builds to a fine climax as does the Nunc dimittis.

Tonalité : B-Dur - Op.: 5 #8 -. Par ZEILER GALLUS. Gattungen: Kantaten - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, Hautbois, 2 Violons, A

Tonalité : B-Dur - Op.: 5 #8 -. Par ZEILER GALLUS. Gattungen: Kantaten - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, Hautbois, 2 Violons, A

Tonalité : B-Dur - Op.: 5 #8 -. Par ZEILER GALLUS. Gattungen: Kantaten - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, Hautbois, 2 Violons, A

The choir book Musica Sacra Hungarica provides a survey of the broad spectrum of sacred vocal music produced in Hungary during the 20th century. Following on from the romantic heritage an individual Hungarian vocal style was developed, which became known internationally through the sacred and secular vocal works of Béla Bartók, Zoltán Kodály and Lajos Bárdos./ Répertoire / Choeur Mixte

Herbert Sumsion (1899-1995) was a highly skilled organist and conductor who began his musical life as a chorister under Brewer at Gloucester. After Brewer’s death he returned as organist to Gloucester and spent nearly 40 years there. Through the Three Choirs Festival he built close and fruitful relationships with composers such as Elgar Vaughan Williams Holst Finzi and Howells. As one would expect from a cathedral musician of such standing Sumsion’s contribution to the Anglican repertoire was immense. While not as well-known as his Full-Choir setting his arrangement of the Magnificat And Nunc Dimittis In G for Boy’s Voicesis a valuable addition to any choir’s library. It is scored for two Soprano or Treble parts with an Organ accompaniment although the second voice part is optional.

Collegium Sancti Johannis Cantabrigiense- Magnificat & Nunc Dimittis is one of the 20 evening canticles written by Herbert Howells for the choir of St John's College Cambridge in 1957. This sheet music is arranged for SATB Choir and Organ accompaniment. Herbert Howells was a renowned English composer of church music in the Anglican evensong tradition best known for his 'Hymnus Paradisi' and as a teacher at the Royal College of Music. His lesser-known evening canticles include this piece: a calm and atmospheric choral song whose divine and soaring melodies have inspired audiences for years. The interplay of the bass/tenor and soprano/alto melodiescombined with the powerful organ chords create a stirring and uplifting piece that builds to a glorious climax at its conclusion. The acoustics of Magnificat & Nunc Dimittis in a church or cathedral are second-to-none and your audience is guaranteed to be left stunned by this little-known masterpiece of choral church music.

Commande du Festival d'Art Sacré de la Ville de Paris 1992 et de Stéphane Caillat. Je me suis beaucoup intéressé dans les années 80 aux différentes liturgies chrétiennes notamment à l'emploi du chant grégorien dans la liturgie catholique des chorals (M.Luther J.Crüger) et du psautier genevois dans la liturgie protestante que j'ai souvent cités dans mes partitions écrites sur des textes religieux (Requiem Magnificat Nunc dimittis).Pour l'Ave verum qui fait allusion à la transformation par le prêtre de l'hostie en véritable chair du Christ ilétait hors de question d'utiliser des fragments de chants de la Réforme puisque le protestantisme réfute la 'transsubstantiation'. Comme je n'y crois pas non plus j'ai donc choisi le texte de l'Ave verum uniquement pour sa simplicité et son aspect sonore mais peut-être aussi son mystère.J'ai écrit ici en outre pour la première et la dernière fois 'a cappella' un exercice délicat qui requiert beaucoup d'attention dans l'écriture et j'ai emprunté à la mélodie grégorienne correspondante la quasi totalité des parties de ténors (la 'teneur') mélodie sur laquelle j'ai construit toute la polyphonie de la partition.J'ai cependant fait appel vers le milieu de celle-ci à la vois de soprano soliste sur le texte en grec (langue originale du Nouveau Testament) du verset 34 du chapitre XIX de l'évangile de Jean : '... un des soldats lui perça le côté avec une lance et aussitôt il en sortit de l'eau et du sang...' dont on retrouve ensuite l'idée au verset 6 du chapitre V de la Première épître à Jean : '... c'est lui Jésus-Christ qui est venu avec de l'eau et du sang...' deux récits auxquels fait écho le texte

Dixit et Magnificat comprises the earliest vesper sections of all the vesper services and vesper psalm settings that Mozart wrote. Like the later complete vesper services, it was one of the works of church art commissioned for prestige purposes as was the custom at all well-known courts in Europe / Choeur et ensemble vocal / Carus

Paperback-For SATB and Organ and commissioned by Jesus College Cambridge and first performed at Evensong March 1971.