20th Century Sacred Music

Low Voice Compiled by Joan Frey Boytim-Joan Boytim compiler of The First Book of Solos series is the most respected name in widely-used publications for the developing singer. She brings her expertise and vast knowledge of literature into the sacred genre with thiscollection which presents traditional sacred solos for classical voice and piano. The songs span from the easy to the more challenging but all are within the realm of a reasonable ?classical? solo for a churchservice. Some of the songs included have long been out of print. The 43 selections range from classics by Bach and Mozart to early 20th century favorites and rarities.

A wide variety of Sacred Songs from both Classical Romantic and 20th Century composers. Includes 'Cantique De Noel' (Adam) and 'I know That My Redeemer Liveth' (Handel).

In its new series entitled Sacred Choral Works EMB presents a collection of religious choral pieces by contemporary and 20th-century Hungarian composers. The first six volumes are devoted to works by the outstanding 20th-century composer for choirs Lajos Bárdos more specifically the works in Latin from the recently published Bárdos series Musica Sacra. The first volume contains the works for equal voices the other five contain those for mixed choir the latter grouped according to religious festivals: Volume 2 has the Christmas choruses Volume 3 those for the Easter season Volume 4 those relating to the period following Easter Volume 5 Marian songs and Volume 6 the pieces forother occasions.

Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

The choir book Musica Sacra Hungarica provides a survey of the broad spectrum of sacred vocal music produced in Hungary during the 20th century. Following on from the romantic heritage an individual Hungarian vocal style was developed, which became known internationally through the sacred and secular vocal works of Béla Bartók, Zoltán Kodály and Lajos Bárdos./ Répertoire / Choeur Mixte

Of Noblest Cities is intended for a choir of between 12 and about 40 voices, although it may also be given by just six singers, one to a part (SSATBB). The piece can be performed unaccompanied, if no suitable organ is available, simply by leaving approximately two crotchet beats of silence between the end of the last note of one verse and the beginning of the next. Underlying the melody is a simple rhythm which is sometimes expanded or contracted. In the first verse the position of the main beats in this rhythm is made clear by the barlines. In the remaining verses, however, the barlines are only there to help the singers to keep together, and for convenience in rehearsal: singers should observe their own strong beats, which fall in different places for each part, and not regard the barlines as indicating downbeats. A few of the strong beats which underlie individual parts and appear to be contradicted by the barlines are marked by the symbol / . The words are a beautiful Victorian translation of a Latin hymn by Prudentius, which meditates on the story of the three wise men. Each verse is set to the same melody, in an increasingly rich counterpoint inspired by the wonderful sound of Tudor choral polyphony. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Jeremy Thurlow is a composer, writer and pianist. His music has been described as 'seductive, innovative, full of freshness' by Henri Dutilleux. It has been performed by the BBC Philharmonic, the Fitzwilliam String Quartet, Rolf Hind, the BBC Singers, Endymion, Carmen Elektra, Peter Sheppard Skaerved, Matthew Schellhorn and Sequitur (New York), among others. In 2007 he won the George Butterworth Award for new composition. As a musicologist he writes on French music in the twentieth century. His book on composer Henri Dutilleux is published in French by Millénaire III, and he has written and broadcast on the music of Messiaen and many other 20th-century composers, frequently appearing on Radio 3's CD Review / Choeur SSATBB Et Orgue

Shortly after the Second World War a combative movement of Danish Belgian and Dutch artists chose the cobra snake - extremely dangerous yet considered sacred - as a symbol of their resistance to strict guideliness of form. The name 'Cobra' also happens to contain the first letters of the cities Copenhagen Brussels ans Amsterdam from where most of the movement's members came. The Cobra movement which existed from November 1948 until November 1951 can with some justicication be called the last major avant-garde movement of the 20th century.The source of inspiration for the composition Cobra comes from four paintings: 'Obhobning' by the Dane Egill Jacobsen; 'La jeune fille et lamort' by the Belgian Pierre Alechinsky; 'Orgeldraaier' and 'Le rythme joyeux de la ville' by the Dutch artists Karel Appel and Corneille. Obhobning means 'pile-up' which is represented musically in the first part by a melodic and harmonic pilling up of perfect fourth's. The first part is also characterized by a rhythmic feeling which the painting gives through its use of numerous black stripes. In the painting La jeune fille et la mort Pierre Alechinsky places a young girl opposite Death. The second part features the constantly pulsating motion of live while a creeping dark melodic line develops. The tension between life and death is tangible as a battle reveals itself. In part three one hears the Orgeldraaier by Karel Appel as cheerful and playful as an organ grinder's music. The painting Le rythme joyeux de la ville by Corneille is busy and extremely dynamic a perfect source of inspiration for a powerful rhythmic ending to this composition.

Tonalité : D-Moll - Horn, Paul (Arr.) -. Par NAUMANN JOHANN GOTTLIEB. Johann Gottlieb Naumann, who today is becoming increasingly well known, achieved recognition during his lifetime as a composer of operas, among them the first Swedish “national opera, ” Gustaf Wasa. In addition he wrote a large number of sacred compositions for the Court of Dresden, where he was employed for many years, including the present Missa in D minor, which was still performed well into the 20th century. This work, probably composed for Christmas in 1794, displays a decidedly pastoral character in the Gloria and Agnus Dei and moreover, is distinguished by charming solo woodwind parts. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

'Church music ' Kenneth Leighton once wrote 'is undoubtedly a channel of communication for me' - one that remained open throughout his working life. The distinguished post-war Birtish composer’s sacred and liturgical music is widely known and performed regularly across the UK and in other countries. His lifelong passion for the music of Bach is reflected in his work for Organ which is widely credited with injecting new life and vigour into the British Organ repertoire of the late 20th century.Just as many other of his over 100 compositions the Sarum Mass is published by Novello and Co. Arranged for SSAATTBB Voices and Organ this piecereflects the strong sense of lyricism diatonicism contrapuntal mastery chromaticism and rhythmic invention typical for Leighton’s works. Duration: ca.10 minutes.

Gustav Holst has earned a place among the most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.But before that great work in his use of Englsh folksongs Gnostic texts and these Vedic hymns one can discern Holst’s search for a compositional Voice beyond the constraints of the European canon in the early 1900’s. Some see composition of the Vedic Hymns as a turning point in Holst’scompositional life. The quality is not completely consistent and Holst remained true to his Western musical inheritance for the most part in setting them but as art songs they are deeply felt and moving to hear.The nine songsare scored for mezzo-Soprano or baritone Voice. The texts are taken from the Rigveda one of the four sacred texts of Hinduism and the oldest religious text in the world.The first set of three comprises Ushas Varuna and Maruts or Dawn Sky and Stormclouds respectively. The second includes Indra (God of Storm and Battle) Varuna II (the Waters) and Song of the Frogs. The third group moves into the human sphere with Vac (Speech) Creation and Faith.

Geistliches Repertoire. Par . With his Hebrew Choral Songbook, Ohad Stolarz presents a new collection of classics of the musical repertoire in Hebrew, arranged by him for mixed choir a cappella. Many of these pieces are published in Germany for the first time; almost all of them are first published as choral arrangements. The first volume contains ten sacred and paraliturgical songs that may be sung at various occasions. Among these are the feast of Passover, the “Ten Days of Repentance” in the month of Tishré and the Sabbath. The second volume contains ten secular songs that have become widely known in Israel during the 20th century. These songs are part of Israel’s cultural history and belong to its core repertoire. All Hebrew lyrics appear in transliteration underneath the music, translations in German and English and comprehensive annotation texts are located in the appendix. This choral songbook therefore allows all interculturally interested choirs to take first steps into the world of Jewish and more generally Hebrew choral music. / Date parution : 2022-07-30/ Recueil / Choeur Mixte

These are the instrumental parts for John Tavener's To A Child Dancing In The Wind for Soprano Flute/Alto Flute Viola and Harp. The entire work lasts around 30 minutes and sets a number of poems byW.B. Yeats considered by Tavener as one of the greatest poets of the 20th century. To A Child Dancing In The Wind?was commissioned by the Little Missenden Festival and firstperformed on 16th October 1983 at Little Missenden Parish Church. John Tavener is well-known for his extensive catalogue of religious music but occasionally he was drawn to less overtlysacred sources. The ?frailty tenderness and spiritual transparency of Yeats? poetry? inspired this song-cycle from 1983 for Soprano Flute Harp and Viola. Tavener held Yeats in high regard and was to return to hispoems in later works such as Mini Song-Cycle for Gina (1984) A Nativity (1985) and Supernatural Songs (2003). To A Child Dancing In The Wind is dedicated to Tavener?s first wife VictoriaMaragopoulou.

Kenneth Leighton?s sacred and liturgical music is widely known and performed regularly across the UK. The British composer did much to keep alive and transform the Victorian tradition of English choral music purge its piety and drag it into the (late) twentieth century.Missa Brevis which is Latin for 'short Mass' usually refers to a mass composition that is short because part of the text of the Mass ordinary that is usually set to music in a full mass is left out or because its execution time is relatively short. Along with Bernstein Britten and Kodály Leighton was one of the composers still writing in this genre in the 20thcentury.Missa Brevis was written for the choir of Liverpool Cathedral and was published in 1968. It has become one of the most popular choral settings of the communion service by a contemporary composer and is regularly heard at cathedrals and churches throughout Britain and America. In this Novello edition the short Mass is arranged for SATB Voices with Piano accompaniment which is for rehearsal purposes only.