24 anthems for sopranos and altos (unison and two-part)

In Singing in Greek: A Guide to Greek Lyric Diction and Vocal Repertoire, Lydia Zervanos reveals to singers the vast riches of Greek vocal music. Dating back to 1770, Greek art music-following the Western European styles, often drawing on themes from folk music and motifs-long awaits its rightful place in a truly international vocal repertoire. Modern singers in search of new musical opportunities will find in Singing in Greek the necessary tools to locate and perform art songs and arias from this extensive national vocal repertoire. Concisely written and full of practical advice, the book opens with an introduction to the Greek alphabet and pronunciation, navigating the assignment of International Phonetic Alphabet symbols. Zervanos covers such topics as Greek vowels, digraphs, consonants, binary consonants, consonant combinations, palatalization, basic Greek grammatical concepts and their role in stress and length, syllabification, and punctuation-all separated into easily referenced chapters and supported by online recordings of native Greek opera singers. In the second half of Singing in Greek, Zervanos offers a short history of Greek art music, biographies of prominent Greek composers, texts of their most representative works with IPA transcriptions, and word-for-word and poetic translations, with arias and art songs chosen for all voice types and levels. This book also includes indexes of direct vowel-to-IPA and consonant-to-IPA transcriptions, as well as useful appendixes on publications, organizations, and famous Greek poets. Singing in Greek is a must-have resource for every singer, voice teacher, vocal coach, collaborative pianist, and opera and choral conductor seeking to perform and teach in this unique language, explore the wealth of music available, and expand their knowledge of Greek repertoire.

Camerata: A Guide to Organizing and Directing Small Choruses distinguishes itself from all other works on choral conducting by starting at the very beginning the conception and purpose of an ensemble and continuing through all other aspects of rehearsing and organizing a chorus to performance and reception. Wenk offers basic information on getting started, recruiting singers, planning programs, rehearsing music, publicizing concerts, sharing responsibilities, financing the operation, knowing the law, and finally getting better. He also offers detailed suggestions for creating an executive group to manage the choir as well ideas for repertoire and programming. In addition to a step-by-step guide, Camerata provides a wealth of supplementary material including a prospectus, a statement of goals and means, programs, organizational documents, a singer s guide, documents for organizing a folksong competition, a list of websites for publishers and choral federations, and an annotated bibliography of works on choral conducting. Wenk also includes more than twenty original Christmas carols and carol arrangements for performance by your small chorus. This work will be a valuable resource for anyone interested in starting a new choral organization or improving an existing ensemble. Although the book focuses on chamber choirs, Wenk s practical suggestions, based on more than forty years of experience as a choral conductor, can be easily applied to any choral organization."

Described as the "life and soul of British contemporary music", Jane Manning is an internationally celebrated English concert and opera soprano. In this new follow-up to her highly regarded New Vocal Repertory, Volumes I and II, she provides a seasoned expert's guidance and insight into the vocal genre she calls home. Vocal Repertoire for the Twenty-First Century spans the late middle-20th century through the second decade of the 21st. Manning's comprehensive selection of contemporary art songs ranges from the avant-garde to the more easily accessible, including substantial song cycles, shorter encore pieces, and songs suitable for auditions and competitions. The two-volume guide presents expertly-informed selections tailored to particular voice types. Each of the 160 selections is accompanied by a highly detailed performance guide, music examples, levels of difficulty, and a brief encapsulation of vocal characteristics or challenges contained in the piece. A supplemental companion website provides composer biographies and an up-to-date list of recommended recordings. With a focus on younger composers in addition to prominent figures, Manning encourages singers to refresh and expand their recital repertoire into less familiar territory, and discover the rewards therein. Volume 2 features works written from 2000 onwards, including pieces from contemporary composers Mohammed Fairouz ("Annabel Lee"), Missy Mazzoli ("As Long as We Live"), Judith Weir ("The Voice of Desire"), and Raymond Yiu ("The Earth and Every Common Sight").

Camerata: A Guide to Organizing and Directing Small Choruses distinguishes itself from all other works on choral conducting by starting at the very beginning the conception and purpose of an ensemble and continuing through all other aspects of rehearsing and organizing a chorus to performance and reception. Wenk offers basic information on getting started, recruiting singers, planning programs, rehearsing music, publicizing concerts, sharing responsibilities, financing the operation, knowing the law, and finally getting better. He also offers detailed suggestions for creating an executive group to manage the choir as well ideas for repertoire and programming. In addition to a step-by-step guide, Camerata provides a wealth of supplementary material including a prospectus, a statement of goals and means, programs, organizational documents, a singer s guide, documents for organizing a folksong competition, a list of websites for publishers and choral federations, and an annotated bibliography of works on choral conducting. Wenk also includes more than twenty original Christmas carols and carol arrangements for performance by your small chorus. This work will be a valuable resource for anyone interested in starting a new choral organization or improving an existing ensemble. Although the book focuses on chamber choirs, Wenk s practical suggestions, based on more than forty years of experience as a choral conductor, can be easily applied to any choral organization."

Renaissance Music for the Choral Conductor: A Practical Guide addresses the study and performance of Renaissance music in a way that is understandable to the musician at any level. It describes how to find a good edition, mark scores, rehearse, and conduct this type of music. It explains complex ideas from proportion to linear analysis and supplies step-by-step instructions on presenting madrigal dinners ideal vehicles for the presentation of Renaissance music. This guide contains traditional toasts, stage directions, lists of appropriate music, and even instruction on selected Renaissance dances. Summer also includes a large number of musical scores to aid in his explanations on marking scores, conducting, and analyzing polyphonic music. Renaissance Music for the Choral Conductor is the ideal textbook for choral literature and choral conducting classes at the undergraduate and graduate levels. It can serve as a reference for anyone who wishes to program and explore music from this period in greater depth, including church musicians and conductors of professional ensembles. The book concludes with a bibliography, glossary, and selected discography.

for SATB unaccompanied The graceful and playful melody begins with a soprano solo followed by mixed voices. Mostly unaccompanied, the organ may enter on the third verse if needed.

for SATB with keyboard Setting a 15th century text, this popular carol on the birth of Jesus is flowing and expressive. It has been recorded by the Cambridge Singers (directed by John Rutter) on the Collegium CD Christmas Night (COLCD 106). Full scores and parts for John Rutters accompaniment for string orchestra are available on sale.

Full score for John Rutter's joyful, sprightly carol Rejoice and sing!, which has been offprinted from Sir David Willcocks: A Celebration in Carols. With its uplifting 7/8 time signature, memorable melody, rich and diverse textures, and delightful orchestral accompaniment, this carol is a fitting tribute to one of the great names synonymous with Christmas: David Willcocks.

for SATB (with divisions) and piano or organ The third movement of McDowall's powerful Da Vinci Requiem, I obey thee, O Lord is a compelling pairing of the 'Lacrimosa' text from the Latin Missa pro defunctis with extracts from the Notebooks of Leonardo da Vinci, and has a poignant, tender simplicity. The composer has reworked the keyboard part from the parent work to facilitate performance by piano or organ.

This book offers an overview of issues related to the regulated, formal organization of sound and speech in verse intended for singing. Particularly, it is concerned with the structural properties and underlying mechanisms involved in the association of lyrics and music. While in spoken verse the underlying metrical scheme is grounded in the prosody of the language in which it is composed, in sung verse the structure is created by the mapping of specific prosodic units of the text (syllables, moras, tones, etc.) onto the rhythmic-melodic structure provided by the tune. Studying how this mapping procedure takes place across different musical genres and styles is valuable for what it can add to our knowledge of language and music in general, and also for what it can teach us about individual languages and poetic traditions. In terms of empirical coverage, the collection includes a wide variety of (Western) languages and metrical/musical forms, ranging from the Latin hexameter to the Norwegian stev, from the French chant courtois to the Sardinian mutetu longu. Readers interested in formal analyses of vocal music, or in metrics and linguistics, will find useful insights here.

In Conversations with Joseph Flummerfelt: Thoughts on Conducting, Music, and Musicians, Donald Nally presents a window into the mind and heart of one of America's most celebrated and distinguished choral conductors. Through questions from Nally, his former student, Flummerfelt provides a captivating narrative tracing his formative years and influences, his most important artistic collaborations, and his approach to conducting and music. The conversation further develops into a philosophical discussion on cultural influences and obstacles in art, how one teaches conducting, and the foundations of ensemble music-making. Through these intimate conversations, Flummerfelt reveals his life, art, and ideas, from his close collaborations with some of the world's greatest orchestral conductors to his work as Artistic Director of Westminster Choir College. The topics range from his approaches to style, conducting gesture, sound generation, and choral sound to the psychology of music-making and the contemporary environment of art-making. Nally's interview style captures the energy and rhythm of Flummerfelt's speech so that the conductor's "voice" and passion is easily perceived, and the material is presented as a highly organized yet spontaneous and free conversation. Flummerfelt discusses his early career influences from such musicians as Robert Shaw and Nadia Boulanger and reveals his thoughts on composers like Igor Stravinsky, Samuel Barber, Benjamin Britten, and Olivier Messiaen. The more than 30 photos present a visual record of Flummerfelt's collaborations with many of the great musicians of our time, and a biographical timeline, a list of collaborating orchestras and conductors, and a discography are also included.

The fusion of text with music is one of the most powerful methods by which a composer can express emotion to an audience, yet, all too often, the diction of choral groups is lacking to such a degree as to make the text unintelligible. So argues Duane R. Karna, who in The Use of the International Phonetic Alphabet in the Choral Rehearsal brings together 30 essays by experts from around the world to describe how the character symbols of the International Phonetic Alphabet (IPA) can be used by singers in the choral rehearsal. In an effort to conquer one of the greatest challenges facing choral directors and their choirs, contributors explore the use of the IPA system in a vast range of languages. Readers will find essays devoted to the use of IPA on matters of lyric diction for the following tongues: Baltic Languages, Basque, Brazilian Portuguese, Chinese, Dutch, Ecclesiastical Latin, English, Finnish, French, Georgian, German, Germanic Latin, Greek, Hawaiian, Hebrew, Hungarian, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swahili, and Swedish. Holding firmly to the belief that basic instruction in IPA character is part of a choir's training, Karna and his contributors see enormous potential for choirs to expand considerably their foreign-language repertoire and save considerable rehearsal time. The Use of the International Phonetic Alphabet in the Choral Rehearsal is the ideal primer for choral directors and choirmasters as well as choir members.

for SATB and organ This radiant anthem explores the theme of light, with luminescent harmonies, a virtuosic organ part, and soaring vocal lines. The text is by Dr Marcus Tomalin, after Dante's Paradiso, and Bednall's word painting is highly effective. A compelling climax as the singers tell of the 'pure living light shining' falls away to a powerful unaccompanied moment, before the organ picks up a motif and develops it in a majestic interlude. This is a highly rewarding anthem for performer and audience alike. Pure Living Light was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189).

The human voice an incredibly beautiful and expressive instrument, and when multiple voices are unified in tone and purpose a powerful statement is realized. No wonder people have always wanted to sing in a communal context-a desire apparently stemming from a deeply rooted human instinct. Consequently, choral performance has often been related historically to human rituals and ceremonies, especially rites of a religious nature. This Historical Dictionary of Choral Music examines choral music and practice in the Western world from the Medieval era to the 21st century, focusing mostly on familiar figures like Bach, Beethoven, Brahms, and Britten. But its scope is considerably broader, and it includes all sorts of music-religious, secular, and popular-from sources throughout the world. It contains a chronology, an introduction, a bibliography, and more than 1,000 cross-referenced dictionary entries on important composers, genres, conductors, institutions, styles, and technical terms of choral music.

Born dirt-poor (his family had the dirt floor to prove it), Waylon Jennings took all the grit of his hometown of Littlefield, Texas, into his soul and his sound. From childhood, this son of a farm laborer considered nothing else but playing music. Stubborn enough never to lose sight of his goal, dumb enough not to realize how long and hard the road, he started as a country disc jockey in Lubbock, then signed on as a protege of fellow Texan Buddy Holly, missing the plane crash that claimed Holly's life by an accident of fate. Cut in the mode of Hank Williams and Carl Smith, yet determined to infuse conservative country music traditions with the energy of rock and roll, Waylon broke the closed society of Nashville sessions in the sixties. Under the tutelage of legends like Porter Wagoner and Ernest Tubb, he shared living quarters with Johnny Cash, took songwriting tips from Roger Miller and encouragement (often unsolicited) from Willie Nelson, and hung out after hours with Kris Kristofferson and George Jones. In the wake of country's own distinctive counterculture, when southern-fried acid freaks met - and partied with - diehard good ol' boys, Waylon helped give America something genuinely new. His 1976 anthology album, Wanted: The Outlaws, was a stunning platinum success, heralding a sound and a mood that evoked the country's pioneer spirit, a restlessness always pushing at the horizon and looking toward the next ridge. But while the artist and performer devoured life and rewrote the rules of the nation's popular music, the star binged on an endless stream of cocaine and pills and staggered through three failed marriages. Ultimately - and inspiringly - Waylon triumphed over his drughabit, proving he would fight for the right to sing his song. At the same time, he ended his long search for the right woman and married Jessi Colter, a country-singing great in her own right and now Waylon's wife for more than a quarter of a century. Today, two-time Grammy winner and sixteen-time chart-topper Waylon Jennings keeps the country fires raging, joining fellow superstars Willie Nelson, Johnny Cash, and Kris Kristofferson on their sold-out international tours as the Highwaymen.

This innovative survey of large choral-orchestral works is a continuation of the author's previous study of twentieth century works with English texts. Green examines nearly one hundred works, from Rachmaninov's Vesna to Penderecki's Song of Songs. For each work, he provides a biography of the composer, complete instrumentation, text sources, editions, availability of performing materials, performance issues, discography, and bibliography of the composer and the work. Based upon direct score study, each work has been evaluated in terms of potential performance problems, rehearsal issues, and level of difficulty for both the choir and orchestra. When present, solo roles are described. The composers represented in this work include Bela Bartok, Leonard Bernstein, Ernest Bloch, Maurice Durufe, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Leos Janacek, Gyorgy Ligeti, Gustav Mahler, Carl Orff, Krzysztof Penderecki, Francis Poulenc, Igor Stravinsky, Anton Webern, and Kurt Weill. Written as a field guide for conductors and others involved in programming concerts for choir and orchestra, this text will prove a useful source of new repertoire ideas and an invaluable aid to rehearsal preparation.

Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition is a choral methods textbook that prepares students in Music Education to become middle school and high school choral music teachers. It emphasizes important musical skills, vocal pedagogy and repertoire suitable for secondary school choirs in order to provide future teachers with the critical experiences to be effective. Focusing equally on rehearsal strategies, auditions and classroom management, the book is also a "workbook" that requires the students' active learning through participation in fieldwork. Students learn in a sequential and practical manner, beginning with the study of the middle school voice and progressing to the high school voice, through practice of theory with adolescents, followed by class reflection on common problems and solutions, and then continued practice. NEW to this Edition Updated references to NAfME, and new national and state standards and licensing rules More on the needs of Special Learners in the choral classroom Latest resources on classroom management theories and practice Expanded vocal warm-ups that incorporate body movement and aural skills training More on gender issues (including LGBT awareness), sociological impact and meanings of choral singing, and emerging knowledge of multicultural choral music Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition fully integrates the choral field experience for hands-on learning and reflection and allows the student to observe and teach the book's principles.