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Books > Music > Other types of music > Sacred & religious music
for SSSAA unaccompanied. The opening of this motet displays
Massaino's skill in the art of word-painting with soaring lines
that play on the word 'arise' (Surge). Punctuated with occasional
homophonic writing, the beautiful melodic lines find clever use of
imitation across all voices. The secunda pars increases the quick
imitation of the vocal lines, mirroring the excitement of the text
'the time of pruning has come' (Tempus putationis advenit). This,
coupled with the introduction of shorter note values, creates a
joyful celebration of the text from the Song of Songs. Offprinted
from The Oxford Book of Upper-Voice Polyphony.
for SSAA double choir unaccompanied. In this compelling motet for
the Feast of the Holy Trinity, Handl artfully embodies symbolism of
the Trinity within the motet's structure. The three verses
surrounded by a refrain of 'O beata Trinitas' may have been
deliberately chosen to represent the Trinity, as it is the only
example where Handl includes a true refrain. Offprinted from The
Oxford Book of Upper-Voice Polyphony.
for SSAA unaccompanied. This Marian text for Eastertide, Regina
caeli, was set four times by Morales. This setting for four voices
was first published in the Spanish composer's 1543 collection and
notated in high clefs. The simple-tone plainchant hymn is strongly
referenced in each of the vocal lines, with Alto 1 dedicated as a
cantus firmus for the majority of the piece. Offprinted from The
Oxford Book of Upper-Voice Polyphony.
for SSA unaccompanied Clemens composed two settings of the Marian
text Ego flos campi, one scored for mixed choir of seven voices and
this other, more intimate, setting for three voices. Here the
voices weave beautiful counterpoint with attractive independent
melodies.
for SSSAA unaccompanied. Recent scholarship postulates that this
anonymous motet for the Feast of the Assumption of the Blessed
Virgin Mary was in fact written by Leonora d'Este, daughter of Duke
Alfonso I and Lucrezia Borgia, and abbess of the Corpus Domini
Convent in Ferrara. The music and style of d'Este's compositions
are skilful in the art of polyphonic writing and the beautiful
Sicut lilium inter spinas, written for five voices, is a fine
example of this style. Offprinted from The Oxford Book of
Upper-Voice Polyphony.
This beautifully designed book includes 25 hymns chosen by Joni
Eareckson Tada with accompanying devotions and photography designed
to spark hope in the midst of hardship.
for medium solo voice and organ This mass setting, with texts in
both Latin and English (Book of Common Prayer), is typical of the
composer's style: musically sophisticated, with motivic solo lines
and a great deal of chromaticism and continual time changes. Vocal
range: C4-Gb5 (opt. A5).
for high solo voice and organ This mass setting, with texts in both
Latin and English (Book of Common Prayer), is typical of the
composer's style: musically sophisticated, with motivic solo lines
and a great deal of chromaticism and continual time changes. Vocal
range: Eb4-A5 (opt. C6).
The Oxford Book of Upper-Voice Polyphony is a collection of
carefully curated and edited Renaissance works. Scholarly yet
practical, this volume is an invaluable addition to the library of
any choir looking to explore this rich genre in liturgical or
concert settings.
for SATB choir unaccompanied With a text by John Henry Newman,
Lead, kindly Light is a short, moving piece perfectly suited for
our current times. Step-like movement in the melody reflects the
speaker seeking light in the darkness, slow but steady in their way
out of the 'encircling gloom'.
for SABar and piano, with opt. bass and drum kit This is a funky
arrangement of Beethoven's 'Ode to Joy' with an English text by
Henry van Dyke. Milloy jazzes up the well-known melody by arranging
it in 12/8 time and adding syncopation, while supporting it with a
groovy piano accompaniment and optional bass part (available at the
back of the leaflet). Originally published in Pop Voiceworks 2.
for SABar and piano or organ Ideal for a carol service or concert,
this piece follows the three Kings on their journey to the birth of
Jesus and is characterised by its alternation of major and minor
modes. Also available in a version for SATB and piano or organ.
for SSA and organ or piano Paul Drayton's setting of three stanzas
from Laurence Binyon's poem 'For the Fallen' is poignant,
dignified, and atmospheric. A serene and expressive refrain for
unison voices (which the congregation may join in if desired) is
interposed between evocatively turbulent passages for SSA choir.
The accompaniment should ideally be played on the organ, but may be
performed on the piano if organ is not available. Also available in
a version for mixed voices.
for SABar and piano Higgins's arrangement of the popular German
carol is given a modern twist with fresh harmonies, but still
captures the gentleness and tranquility found in more traditional
settings. Supported by sustained 'oo's and 'ah's throughout, the
well-known melody is underpinned by a delicate piano accompaniment,
with an optional unaccompanied middle section.
for SATB unaccompanied This setting of Phineas Fletcher's text is
gentle and flowing, with a lilting, descending motif to
characterise the 'slow tears'. Archer offers nuanced dynamics and
imitative entries in this simple but expressive piece, suitable for
Lent and Passiontide.
for SATB unaccompanied This is a declamatory setting of a popular
Easter text by Gerard Manley Hopkins in an upbeat 7/8 metre.
Featuring compelling interplay between choral sections, a slower
reflective passage, and a rousing conclusion, this anthem will
bring a fresh sound to Easter services and concerts.
for SATB and piano four-hands or chamber orchestra This
effervescent setting of two texts by David Warner - one for
Christmas, one for general worship - was included on the Tabernacle
Choir and Orchestra at Temple Square's release, 'Tree of Life'.
Over a shimmering, festive accompaniment for piano four-hands or
chamber orchestra, the melody is passed between voice parts, and
the dynamic contrasts and detailed articulation enable singers to
present an engaging characterization.
The sweetness of music is something that has puzzled Christian
theologians for centuries. In this study, Luther's theology of
music is approached from the point of view of pleasure. It examines
the significance of joy, beauty and pleasure in relationship with
music and Luther's theology. The notion of music as the supreme
gift of God requires also a discussion about the idea of 'gift'.
Music opens up new perspectives into Luther's thinking. Luther has
seldom been reckoned among aesthetic theologians. Nevertheless,
Luther has a peculiar view on beauty, understanding faith as a kind
of aesthetic contemplation.
for SATB and organ A celebratory carol in a lilting 12/8 metre,
Christmas Welcome sets a joyful fifteenth-century text written by
the English priest and poet John the Blind Audelay. Whitbourn
employs textural contrasts and call-and-response style pairings of
voices to great effect, and the soloistic organ writing allows
plenty of opportunity for organists to explore the full range of
their instrument.
for SATB (with divisions) unaccompanied This is a beautiful and
dynamic setting of well-known words from the Song of Songs (or Song
of Solomon). With a soaring soprano melody, McGlade's fluid vocal
lines drive harmonic twists within an immediately accessible
sound-world. Perfect for concert performance.
for SATB and organ or piano This Easter carol is based on J. M.
Neale's translation of the Latin Piae Cantiones and occupies a
captivatingly exotic soundworld. Sheehan's setting is in strophic
form, with a texture that builds from verse to verse and with
varying harmonizations, culminating in a dramatic cadence.
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