Frauenchor-For performance material on sale use regular 4-part edition BA4653.Arrangement for SMezAA based on the Henle Complete Edition of the Works of Joseph Haydn.Idiomatic Piano reduction.Haydn presumably wrote his Missa brevis in 1775 for the Brothers Hospitallers of Eisenstadt Abbey. The work takes its nickname the ‘Little Organ Mass’ from the Organ solo in the Benedictus. This arrangement for female choir (SMezAA) is based on the complete edition of the Works of Joseph Haydn.The original soprano and alto parts have for the most part been taken over as has the soprano solo in the Benedictus. The tenor and bass parts are distributed among themezzo-sopranos and altos with a few well thought-out alterations to preserve the harmonic structure. Heribert Breuer has retained the original substance with great skill while giving the work a wholly new and attractive sound.Heribert Breuer was professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and conductor of the Berlin Bach Academy.

Everything You Need to Organize Your Choral Program-Who knew that when you set out to be a choral conductor that your life would be completely filled with so many other activities and a plethora of roles other than just conductor? One of the main jobs of a choral director is that of a juggler... or a multitasker in the contemporary vernacular! The only way to survive and thrive in this world of music is to keep yourself organised. In The Perfect Choral Workbook: Everything You Need To Organize Your Choral Program by Timothy Seelig you will find the tools to organise your choral program and your career. There are over 40 forms and lists on the CD-Rom with printable PDF and Word files that willassist you with a range of tasks such as making sure you are in the right place possessing the necessary tools and cultivating magic in your music program. This workbook provides the necessary tools to help you tailor the forms to your specific program.

Carl Philipp Emanuel Bach wrote his first great vocal composition the Magnificat in 1749 at the age of 35. It bears all the earmarks of “audition music” i.e. a piece that organists and choir directors had to submit when applying for a new position. This feature is especially evident in its stylistic variety which makes the work a rewarding and colorful challenge for all church choirs. Special attractions are the work's contrapuntal passages which are very similiar in sound and structure to those of J. S. Bach’s B minor Mass. The present arrangement for soloists chorus and organ is intended as a self contained version accessible to a widerange of choirs even those with limited financial means. - Self contained version for soloists (SATB) chorus (SATB) and organ - Ideal for use in church and concert hall - Clear and well presented organ part - Duration: ca. 40 minutes The Bärenreiter CHOIR&ORGAN Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed. The original orchestral parts have been transcribed into straight-forward organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ version by the composer has been used. The Organ parts are presented on three staves. The choir and solo parts always remain true to the original. One edition can be used by soloists singers and Organist alike.

The vocal score of Choral Symphony by Australian composer Carl Vine. Scored for SATB choir organ and orchestra Carl Vine’s Choral Symphonysets four ancient hymns in exotic languages that have not been spoken for thousands of years: ‘Enuma Elish’ an Akkadian creation myth describing the creation of the world from primeval chaos and three Homeric Hymns  to the Earth the Moon and the Sun (in Greek 'Epic Dialect'). The vocal writing in this 26-minute symphony (Vine’s sixth) is homophonic throughout reflecting the composer’s wish for the workto ‘revel in the power of the human community’. 

On Eagles' Wings is a wonderfully uplifting piece by Alexander L'Estrange for upper voices featuring glorious soaring melodies and an infectious rhythmic drive. It can be performed either with organ or showcasing L’Estrange’s jazz background with piano and double bass. Ideal both in a liturgical context and as part of a concert programme.On Eagles' Wings is part of the Faber Choral Signature Series which introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a rich diversity of living composers offering a thrilling array of varied styles.

This Fantasia is founded on the following traditional English carols: The Truth Sent From Above (Herefordshire) words and tune; Come All You Worthy Gentlemen (Somerset) words and tune; On Christmas Night (Sussex) words and tune; There Is A Fountain (Herefordshire) tune only; together with fragments of other well-known carol tunes. The work is scored for ordinary full Orchestra with Organ and set of bells (ad lib.) or String Orchestra with Organ or Piano. Alternatively it may be accompanied by Organ or Piano alone played from the Vocal score with an optional solo Cello part (H212). A chorus part for performance bysolo Baritone and TTBB is also available (W41). The chorus is required to sing in four different ways:1. Singing the words.2. Singing with closed lips.3. Singing \'Ah\'.4. Singing with half-closed lips i.e. with a short \'u\' sound as in the word \'but\'. Watch Pasadena Master Chorale performing Ralph Vaughan Williams\' Fantasia On Christmas Carols:

Paramètre de Morten Lauridsen ' Lux aeterna ' - un requiem cinq-mouvement, non liturgique pour choeur et orchestre de chambre et des organes - est une oeuvre riche et intensément émouvante. Chorales textures sont entièrement explore, à partir du sonore, ralentissent dépliement de la ' Introït ' et le contrepoint complexe et voix appariés de ' In te, Domine, speravi ', pour le motet cappella ' nata o lux ' et pleine d'entrain Cantique ' Veni, Sancte Spiritus '. Le dernier mouvement - un remplacée par la nouvelle ISBNlime ' Agnus Dei ' précédant le dernier ' Lux aeterna ' - ferme avec une joyeuse Alleluia pour fournir une conclusion enlevante à ce travail plus puissant. Cet arrangement choral magnifique, avec autres favoris Lauridsen, a récemment été libéré sur Hyperion records / Choeur

Allemands Chorale Preludes des 17e et 18e siècles, une sélection de musique d'orgue baroque - surtout pour les manuels seulement - idéal pour une utilisation dans les services de l'église tout au long de l'année. Y compris les paramètres de certaines des chorales les plus connus (In dulci jubilo, Herzlich tut mir verlangen et Ein feste Berg, par exemple) par les deux compositeurs établis et moins connus, cette collection est idéale pour les organistes qui ont besoin nouveau répertoire pour les services religieux hebdomadaires . / Choeur

A 4 Voci Miste Con Organo. Par PEROSI LORENZO. Coro E Pianofortepartitura/ Répertoire / Choeur

Par MARSHALL WAYNE. Ce paramètre merveilleusement mélodique de la cantiques - couleur par délicieuses harmonies jazz - a été écrite par Wayne Marshall, le virtuose de l'organe international célèbre, en 1982 pour les choristes de la chapelle St George populaire, Windsor, où il a été boursier de l'orgue. Comme ces chorales qui sont déjà venus à travers cette pièce témoignera, c'est un travail bien découvrir./ Feuillet / Choeur

A grand Palm Sunday anthem this majestic call to praise honors Jesus the King as He enters the city with a procession of palms. Add the congregation to join in the Hosanna! along with the tasteful complement of the organ brassquintet and percussion to fill the sanctuary with regal celebration!

This edition features fresh engravings with the Organ part printed on three staves. It also includes a paragraph explaining the historical background and context of the work. / Chant/Vocal/Choeur

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeated chords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem  Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow of Crossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords the word ‘crucify’ arises initially as a mere mutter from the lowervoices so timed as to afford assonance with other words in the upper parts and thus remain barely discernible as if only imagined. In due course however cries of ‘Hosanna’ find themselves on a collision course with a rising tide of ‘Crucify’ during which the ‘Hosanna’ faction gradually loses heart and sheep-like defects until a single treble voice—plaintively daring to repeat the ‘offending’ word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns this time expanding into an extended polyphonic final section for double choir and SATB soloists. The principal climax of the work subsides into a form of epilogue crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood of its opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton a craftsman and largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and