PARTITIONS GRATUITES :
- Mass of Reverence

SATB choir, cantor, priest, assembly, keyboard accompaniment, guitar - Early intermediate

SKU: GI.G-10479

Composed by Lorraine Hess. Arranged by Ed Bolduc. This edition: Choral / Accompaniment edition. Mass. Sacred. Octavo. With guitar chord names. 32 pages. GIA Publications #10479. Published by GIA Publications (GI.G-10479).

UPC: 785147047919. English, Greek.

With energy, drive, beauty, and reverence, Mass of Saint Catherine of Siena works well within contemporary liturgies and is appropriate for all liturgical seasons. This setting is arranged for SATB voices, piano, and guitar, reaching its fullest potential when percussion and bass are added. The harmonies, arranged by Ed Bolduc, give it fullness, yet the setting is also suitable for cantor and piano alone. Mass of Saint Catherine of Siena was written in 4/4 time intentionally to provide an alternative to the many settings available in 6/8 and its intros and outros encourage a lovely ebb and flow with the rituals of the liturgy.

SKU: GI.G-8746CD

Revised Order of Mass 2010. Composed by Lori True. Arranged by Paul Tate. Lent. Sacred. CD. GIA Publications #8746CD. Published by GIA Publications (GI.G-8746CD).

English. Text Source: Revised Order of Mass 2010, Lectionary for Mass

This reflective mass setting will establish a quiet and reverent tone for your Lenten worship. The acclamations are based on the hymn tunes attende domine and picardy and on Mode III of plainchant. The easily singable and immediately recognizable melodies are combined with simple chordal accompaniments to maintain a feeling of chant while still supporting the choral singing. Visit giamusic.com to listen to clips and view samples, and you will soon see why Mass of Mercy will promptly become your Lenten Mass of choice.

Chorus a cappella

SKU: BR.CHB-5366

Composed by Kurt Thomas. Choir; stapled. Chor-Bibliothek (Choral Library). Mass; Early modern; Music post-1945. Sheet Music. Composed 1925. Breitkopf and Haertel #CHB 5366. Published by Breitkopf and Haertel (BR.CHB-5366).

ISBN 9790004412961. 7.5 x 10.5 inches. Latin.

Kurt Thomas' Mass in a op. 1 for Soloists and two mixed choirs a cappella was composed in 1925 at the end of his music studies in Leipzig. It is dedicated to his patron, Thomaskantor (choirmaster of St. Thomas) Karl Straube, in highest gratitude and reverence. It was published in the same year as his first printed work by Breitkopf & Hartel, founding a long-term collaboration which later enabled the publication of the Small Sacred Choral Music op. 25 (CHB 5344) and the conducting tutorial Lehrbuch der Chorleitung (BV 271). In 1927, it was awarded with the Beethoven-Preis of the Prussian Academy of Arts. The work is set for double choir throughout, partly also giving way to eight-part passages and shorter sections in which the choir sings in turn with the four solo voices. The Venetian polychorality is also used as a stylistic device, emphasizing the model character of baroque choral music.

Chorus a cappella

SKU: BR.CHB-5366-02

Composed by Kurt Thomas. Choir; stapled. Chor-Bibliothek (Choral Library). Mass; Early modern; Music post-1945. Choral score. Composed 1925. 52 pages. Breitkopf and Haertel #ChB 5366-02. Published by Breitkopf and Haertel (BR.CHB-5366-02).

ISBN 9790004412961. 7.5 x 10.5 inches. Latin.

Kurt Thomas' Mass in a op. 1 for Soloists and two mixed choirs a cappella was composed in 1925 at the end of his music studies in Leipzig. It is dedicated to his patron, Thomaskantor (choirmaster of St. Thomas) Karl Straube, in highest gratitude and reverence. It was published in the same year as his first printed work by Breitkopf & Hartel, founding a long-term collaboration which later enabled the publication of the Small Sacred Choral Music op. 25 (ChB 5344) and the conducting tutorial Lehrbuch der Chorleitung (BV 271). In 1927, it was awarded with the Beethoven-Preis of the Prussian Academy of Arts. The work is set for double choir throughout, partly also giving way to eight-part passages and shorter sections in which the choir sings in turn with the four solo voices. The Venetian polychorality is also used as a stylistic device, emphasizing the model character of baroque choral music.

By Ramona Luengen (1960-). For SSAA choir, a cappella. Octavo. Published by Cypress Choral Music