John Tavener's Sollemnitas In Conceptione for Soloists Double SATB Chorus and Orchestra.This work was commissioned by festival religio musica nova the Zürcher Kammerorchester and Saint Thomas? Church FifthAvenue New York. First performance on 8th December 2007 at Großmünster Zürich by the Rundfunkchor Berlin and Zürcher Kammerorchester conducted by Simon Halsey. USA premiere on 7th March 2008 at Saint Thomas? Church by TheSaint Thomas Choir of Men and Boys and The Orchestra of St. Luke?s conducted by John Scott.Duration: 100 minutes

Scored for SATB chorus and orchestra The Building of the House was written for the inaugural concert of the new Maltings concert hall Snape at the 20th Aldeburgh festival.

Missa Pro Defunctis-Cherubini owes his fame as a church composer primarily to the Requiem in C minor of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings.Dispensing entirely with solo voices it captivates with its rigorous formal concentration and its restrained use of musical resources in both Choir and Orchestra.This Urtext edition takes into account not only the autograph score with spartitino (additional instruments written in by hand) but also the first edition and a copyist’s manuscript. Rounding off this exemplary Urtext publication is an informativeIntroduction and a Critical Commentary (Eng).

Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.

Paul Mealor’s Celtic Prayers was commissioned by the BBC for the BBC National Orchestraof Wales to celebrate St David’s Day 1st March 2014. The premiere took place on that date at St. David’s Hall Cardiff at a gala concert with the participation of the BBC National Chorus of Wales as well as massed youth choirs conducted by Grant Llewellyn.

La renommée de Carl Maria von Weber repose principalement sur , Der Freischütz '. Le succès sans précédent de cet opéra éclipsé tous ses autres travaux et a contribué à leur chute de plus en plus dans l'oubli . Certains travaux tels que , Preciosa ', , Oberon , et , Euryanthe ' , les ouvertures, concertos en solo et sonates pour piano , des lieder et chambre oeuvres jouissent d'une grande popularité et ont été largement connus en Allemagne et à l'étranger aussi tard que la deuxième moitié de la 19ème siècle . Cependant , toute chance d'une renaissance de Weber et influentoeuvre considérable a été perdu dans les années 1920 , quand une édition complète - commencé par Hans Joachim Moser et avec les contributeurs potentiels, y compris Wilhelm Kempff , Hans Pfitzner , Max von Schillings , Fritz Stein et Richard Strauss - a échoué après le troisième volume .Depuis , il ya eu de nombreuses tentatives pour relancer une édition complète des oeuvres de Weber , mais que ce genre de projet , il aurait fallu la collaboration de chercheurs des deux côtés de la frontière inter- allemande , la situation politique après 1945 n'était pas propice à une telle entreprise . Négociations approfondies ont conduit aux premières mesures concrètes dans les années 1980 . L'intention , dès le début , était de placer l'oeuvre de Weber dans son contexte, et ne pas se séparer de sa production musicale de son travail influent comme un écrivain , critique et organisateur dans le domaine musical , mais de publier ses compositions avec ses lettres, journaux et d'autres la production littéraire comme le meilleur moyen de documenter la fertilisation croisée entre ses activités musicales , littéraires et pratiques .Depuis la réunification des deux - groupes de travail allemands concernés - à la Staatsbibliothek zu Berlin , et au Séminaire Musikwissenschaftliches , Detmold / Paderborn - ont coopéré sur l'édition complète des oeuvres musicales ( c. 45 volumes de la série 10 : sacré musique - cantates , des odes et des autres travaux occasionnels- oeuvres scéniques , lieder et des oeuvres vocales - oeuvres orchestrales , musique de chambre , musique pour piano - réductions pour piano - Miscellanea , arrangements et orchestrations , des oeuvres d' attribution douteuse ) . Les journaux (6-8 vol.) Sont édités à Berlin et les lettres (8-10 vol.) Et d'autres écrits ( 2 vol. ) À Detmold .Cette édition complète vise à constituer une base fiable de débat scientifique , ainsi que pour la pratique de la performance authentique de la musique de Carl Maria von Weber . Conforme aux normes d'éditions historico-critiques récentes , le matériau textuel sera basé sur les sources authentiques disponibles , accompagnés par une documentation détaillée de la genèse et une liste de variantes pour chaque travail . L'importance musicologique des travaux sera évaluée en les plaçant dans leur contexte historique , la présentation de leur genèse , l'histoire et les commentaires critiques . Les lettres , les écrits et les journaux seront considérés comme interdépendants et pertinente à l'autre dans les commentaires , donc les lecteurs devraient bénéficier d'une foule de renseignements concis et renvois . / Choeur Mixte (SATB) Et Instruments Divers

A work for SATB chorus and orchestra commissioned by Bedford School. The first performance was given by the school's First Orchestra and Choral Society conducted by Andrew Morris in October 1981.This is a special item whichis made to order. Please e-mail our Mail Order Department for further information.

Dyson's sumptuous choral epic of 1938 subtitled ‘A Cycle of Poems’ charts man's journey through life and the afterlife using a collage of English poems. Quo Vadis is a work that in its aim design and achievement reaches for visionary heights. Right from the start Dyson's harmonic language and skilful orchestration are completely at the service of his beautiful and carefully crafted libretto. The composer fervently believed in the English choral movement's need for practical tuneful and lively music. Quo Vadis with its colourful orchestration and fine melodies demonstrates the effectiveness of this aestheticapproach. Arranged for SATB Chorus and Orchestra this major yet often overlooked piece lasts about 90 minutes in 9 movements.Sir George Dyson was a well-known English musician and composer of the 20th century. His compositions include a symphony in G major a violin concerto and a number of other works many of them for choir. Apart from his musical career Dyson was involved with the military during WWI his handbook on grenade-fighting techniques became the standard Army text for many years.

Mendelssohn’s Elijah is an oratorio for SATB soli SATB chorus orchestra and organ with the text derived from the Lutheran Bible by Julius Schubring. The English version of the text was translated by William Bartholemew.This New Novello Choral Edition of the vocal score contains comprehensive performance notes and detailed editorial markings and suggestions as edited by Michael Pilkington. The German text is also included in the vocal score and a German translation of the performance notes is also provided.

Morton Gould's Postscript from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Sermon from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'