Gerald Finzi

Christmas Scene-Christmas Scene for Soprano and Baritone Soli small chorus Harp or Piano Cymbals and Strings.

Festival Anthem-A wonderful festival anthem for chorus and organ or orchestra by English composer Gerald Finzi with words by Richard Crawshaw. Composed in 1946 and first performed with full orchestra in September 1947 at the Three Choirs Festival with the London Symphony Orchestra conducted by the Finzi himself. This edition of Lo the Full Final Sacrifice is set for full-mixed SATB choir with full organ accompaniment.

Anthem-Finzi's anthem Welcome Sweet and Sacred Feast op. 27 no. 3 for mixed choir and organ. Text by Henry Vaughan.

No. 5 Nightingales-Nightingales is a beautiful song for 5-part mixed voices (SSATB) a cappella taken from Gerald Finzi's settings of Seven Poems of Robert Bridges.

Nr. 4 Clear and gentle stream-Clear and Gentle Stream is the fourth movement from Gerald Finzi's Seven Poems of Robert Bridges op. 17. For mixed choir a cappella with piano accompaniment for rehearsal only. Words by Robert Bridges.

/ Ténor Seul, Choeur Mixte Et Orchestre / 128 pages / niveau : Avancé / Partition

This anthem combines Finzi's wonderful melodies with Edward Taylor's beautiful text which is taken from his work Sacramental Meditations. It is arranged for SATB (Divisi) with Organ accompaniment.

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre