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Books > Arts & Architecture > Music > Other types of music > Vocal music > Choral music
for SATB and organ This is a flexible hymn for general worship,
with an original hymn tune ('Charleston') by Howard Helvey. Either
Francis Scott Key's 'Lord, with glowing heart I'd praise thee' or
Charles Wesley's 'Love divine, all loves excelling' may be sung,
and Helvey employs hymnody's most popular traits, including a
majestic organ introduction, an emphatic unison first verse, and a
soaring soprano descant.
for SSA and piano This atmospheric setting of familiar words from
Shakespeare's As You Like It is sprightly and uplifting, with
singers being asked by the composer to perform with 'a bit of frost
and a knowing smile'. Blow, blow, thou winter wind was originally
published in the collection Hark, hark, the lark.
for SATB soloists or choir unaccompanied This powerful work is a
sequence of meditations on loss and longing, of fear and of hope,
by turns contemplative and dramatic. The narrative is made up of a
selection of poems by four exiled Latvian writers from the group
known as the Hell's Kitchen Poets and present-day displaced persons
from Palestine and Syria. The text is in Latvian and English, and a
pronunciation guide for the Latvian text is included in the vocal
score. Jackson also employs percussion for dramatic effect, with
three singers required to play brake drum, railway man's whistle,
and claves. With all of the trademarks of Jackson's compelling
musical style, this piece will be an exciting challenge for choirs
looking to explore universal themes.
for SAB and piano Chilcott has re-scored this serene, reflective
anthem, originally for upper voices, for SAB, making it accessible
to choirs with a limited number of male voices. A rich addition to
the Choral Evensong repertory, the anthem presents an artful
juxtaposition of an original setting of William Fuller's 'Evening
Hymn', most famously set by Henry Purcell, with the plainsong
melody for the Latin hymn 'Te lucis ante terminum', in J. M.
Neale's English translation.
for SATB unaccompanied Images of Peace resulted from a request for
a work that would encourage peace and understanding while not
focussing on any particular creed or belief, and Alan Bullard
approached this concept by choosing texts from a range of sources,
including the English metaphysical and pastoral traditions, and the
Taoist, Jewish, and Christian traditions. The set of five songs are
designed as a symphonic whole, with the first and last ('Sweet
Peace' and 'Bread of Peace') partly sharing the same material,
book-ending three contrasting movements, a lively scherzo ('Rainbow
of Peace'), an expressive slow movement ('Peace in the world'), and
an elegant allegretto ('Doves of Peace').
for TTBB unaccompanied The Parting Glass is a traditional Scottish
song, often sung as a farewell at the end of a get-together. Sarah
Quartel's arrangement features close harmonies, idiomatic Scotch
snap rhythms, and effective interjectory moments in what is a
largely homophonic setting. With its valedictory message, it would
make a fitting end to a performance, perhaps as an encore item.
for SATB unaccompanied This is a warm and contemplative setting of
the medieval Latin hymn, suitable for communion services or for
Lent, Passiontide, or Corpus Christi. Built around harmonic
sequences and an appealing opening phrase, and with a gently
romantic feel, Parry's setting offers a charming alternative to
more familiar settings of these words.
for SATB and chamber ensemble A splendid curtain-raiser to
Vivaldi's Gloria, Francesco Durante's artful Magnificat has long
been misattributed to his pupil Pergolesi in a version for four
voices, not five. Durante's vocally richer five-voice version has
been chosen for the Sacred Choruses volume, which this
orchestration accompanies, and merits performance as an alternative
to the familiar four-voice version, which may or may not have been
Durante's own work.
for SATB and chamber ensemble A splendid curtain-raiser to
Vivaldi's Gloria, Francesco Durante's artful Magnificat has long
been misattributed to his pupil Pergolesi in a version for four
voices, not five. Durante's vocally richer five-voice version has
been chosen for the Sacred Choruses volume, which this
orchestration accompanies, and merits performance as an alternative
to the familiar four-voice version, which may or may not have been
Durante's own work. This complete set contains 4 x vln I, 4 x vln
II, 2 x vc, 2 x db, 1 x continuo, and 1 x lute.
for SSATBB unaccompanied Skilfully set to the tender words of the
poet E. E. Cummings, 'I carry your heart' is an unaccompanied
secular work originally for men's voices, but rescored by the
composer in this version for women and men. The piece was
commissioned by the acclaimed close-harmony group, The King's Men,
and was recorded on their album Love from King's.
Known for his orchestral, operatic and choral works, James
MacMillan (b. 1959) appeals across the spectrum of contemporary
music making. James MacMillan appeals across the spectrum of
contemporary music making and is particularly celebrated for his
orchestral, operatic and choral pieces. This book, published in
time to mark the composer's sixtieth birthday, is thefirst in-depth
look at his life, work and aesthetic. From his beginnings in rural
Ayrshire and his early work with Sir Peter Maxwell Davies, through
the international breakthrough success of The Confession of Isobel
Gowdie,the continuing success of works such as the percussion
concerto Veni, Veni, Emmaneul and his choral pieces, to his current
position as one of the most prominent British composers of his
generation, the book explores MacMillan's compositional influences
over time. It looks closely at his most significant works and sets
them in a wider context defined by contemporary composition,
culture and the arts in general. The book also considers
MacMillan's strong Catholic faith and how this has influenced his
work, along with his politics and his on-going relationship with
Scottish nationalism. With the support of the composer and his
publisher and unprecedented access to interviews and previously
unpublished materials, the book not only provides an appraisal of
MacMillan's work but also insights into what it means to be a
prominent composer and artist in the twenty-first century. PHILLIP
A. COOKE is a Composer and Senior Lecturer and Head of Music at the
University of Aberdeen. He has previously co-edited The Music of
Herbert Howells for Boydell.
This companion volume provides organists with new, dedicated
three-stave accompaniments to twenty-four of the twenty-eight
choruses in the main Sacred Choruses volume. In every case, these
organ transcriptions, made by John Rutter, are based directly on
the original orchestral versions and will facilitate church
performances without orchestra.
for SATB and piano This celebration of friendship is rich in
expressive melodies and poignant harmonies, underpinned by
sensitive piano writing. The text, by Delphine Chalmers, is
inspired by French Renaissance essayist Michel de Montaigne's
writings on friendship, from which the well known quotation 'If I
am pressed to say why I loved him, I feel it can only be explained
by replying: 'Because it was he; because it was me.'' originates.
Eminently accessible, this piece is perfect for concert programmes
celebrating friendship and community.
for SATB or upper voices, and orchestra or wind band The Future of
Fire is a brief but powerful work. The vibrant scoring creates a
feeling of explosive energy from beginning to end with intense
bursts from a battery of percussion. The melodic material is taken
from a popular and touching love song from Shannxi province in
north-western China, which is coupled with rhythmic motives in both
the orchestra/wind band and chorus. Folk melodies from this region
use intervals of a minor seventh these angular leaps are suited to
the dynamic spirit of this work. The chorus sings a vocalise based
on repeated syllables that are found in Chinese folk songs, as well
as many folk songs from around the world.
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We are
Bob Chilcott
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R216
Discovery Miles 2 160
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Ships in 12 - 17 working days
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for SATTBB & SA or SATB unaccompanied We are is a dynamic and
vibrant setting of 'The human family', a powerful poem by American
poet Maya Angelou. The poet's message that 'we are more alike than
we are unalike' is carried through the piece by a compelling
rhythmic figure, and the a cappella textures and interplay between
voices creates an infectious energy. The rich texture of the double
choir scoring allows the two groups of singers to work together to
create the sense of unity and common purpose the poem speaks to. We
are was commissioned by The King's Singers for their 50th
anniversary celebrations and features on their album 'GOLD'
(Signum, SIGCD500). The piece was originally presented with the
first choir scoring as AATBarBarB, but has since been rescored for
SATTBB, with the option for the second choir to be SA or SATB
remaining unchanged.
for SA and piano Commissioned by the Treble Makers Women's Choir to
celebrate both their 10th anniversary and the 150th anniversary of
Canada, this secular work for upper voices sensitively sets
Langston Hughes's poem of the same name. A lilting melodic line,
eloquent part-writing, and an effective piano part combine to
create a piece that will appeal to both youth and adult upper-voice
choirs.
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