HYMNE - EGLISE - SACRE

Composed by John Rutter (1945-). For SATB choir and small orchestra. John Rutter Anniversary Edition. Secular. Full score. 28 pages. Duration 4 minutes. Published by Oxford University Press

Composed by John Rutter (1945-). For SATB choir and small orchestra. John Rutter Anniversary Edition. Secular. Set of parts. 72 pages. Duration 4 minutes. Published by Oxford University Press

Composed by John Rutter (1945-). For SATB choir and piano accompaniment or small orchestra. John Rutter Anniversary Edition. Secular. Very easy to easy. Vocal score. 12 pages. Duration 4 minutes. Published by Oxford University Press

Composed by John Purifoy. Harold Flammer. 12 pages. Published by Harold Flammer Music (HL.35030313).

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

By Michael John Trotta and William Shakespeare. For Choral, Tambourine (SATB DV A Cappella). Walton Choral. 20 pages. Walton Music #WJMS1128. Published by Walton Music

Composed by John Rutter. In the deep. Vocal score. 12 pages. Duration 4'. Oxford University Press #9780193561465. Published by Oxford University Press

Choral

SKU: HL.14042246

SSAATTBB. Composed by Henry Purcell. Edited by Watkins Shaw. Music Sales America. General Worship, Sacred. Softcover. 7 pages. Music Sales #NOV292369. Published by Music Sales (HL.14042246).

ISBN 9781780382227. UPC: 884088922061. 6.5x9.75x0.045 inches.

This setting of the opening to Psalm 102 was composed in the early 1680s. Purcell, who was in his early twenties, had succeeded John Blow as organist of Westminster Abbey around the beginning of the decade and his star was in the ascendant as a court composer.

In this piece he pulls off a remarkable compositional coup: a single, gradual climax, lasting over two minutes and culminating on the final repetition of the word 'come', is achieved through a sublime, freely developing eight-part weave of the opening material. The harmonies that result from the chromatic inflections on the word 'crying' all serve the mounting tension in this extraordinary miniature.

Studyof the autograph manuscript suggest that this anthem was intended to be the opening part of a larger work which was never completed.